{ "status": "completed", "applicable_count": 92, "completed_count": 92, "failed_count": 0, "schema_version": 4, "config_hash": "14c05253a60f4573", "data": { "contis": { "S1sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S1sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S2sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S3sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S3sh2.png", "plate_path": null, "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the compact driver's cab of a self-driving dump truck carrying scrap, with the steering wheel directly before the driver's seat and daylight through the windshield.\n\nSHOT TEXT (authoritative, Korean): 자율주행 중인 덤프트럭 운전석에 앉은 아시아계 한국인 운전사의 고개가 핸들 쪽으로 푹 꺾여 잠든 찰나.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The dump-truck driver is asleep in the driver's seat, with his torso seated and his head drooping forward toward the steering wheel. His arm and leg positions and any contact between his head and the wheel are unspecified.\n\nCARRIED STATE (persist exactly): The self-driving dump truck carries a full load of scrap, including the old, net-entangled Charlie with his worn chest logo. No unloading has occurred yet.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From inside the cab on the passenger side, finish the approach slightly above seated eye level, looking downward at the Korean Asian driver in an oblique three-quarter close view. His bowed head and shoulders occupy the central-left portion, his chin dropping toward the steering wheel at lower right, with a narrow strip of the seat preserving the cab context. Emphasize only the final decrease in camera distance, observing his closed eyes and collapsed neck directly rather than implying a dream or an active gaze.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Steering wheel (In front of the sleeping driver while the truck operates autonomously) — Seen obliquely from the passenger side beneath the driver's lowered head; used as Lower-right reference revealing the direction of the head drop; Driver's seat (Occupied by the sleeping driver) — Its side and a narrow section behind his shoulder are visible; used as Limited background context supporting the slumped seated posture.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [], "asset_id": "7e647946-36d0-42bf-9429-ff2e67fce5d5" }, "S4sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S4sh3.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the front cabin of a car parked in an affluent residential street, beside the passenger-side window facing a house across the road in daylight.\n\nSHOT TEXT (authoritative, Korean): 페드로가 조수석 창밖으로 팔을 뻗어 길 건너편의 고급주택 쪽을 정확히 가리키는 손끝.\n\nCARRIED STATE (persist exactly): The car remains parked in the upscale residential neighborhood, across the road from the target house. The house plan is crumpled and poorly drawn. 페드로: Pedro remains in the driver's seat and has an earpiece in his ear. He points toward the target house.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold outside the passenger-side window at forearm height, offset toward the car's front, and look obliquely along 페드로's extended arm rather than back toward his face. Frame the hand across the lower-left and center, with its pointing fingertip leading toward the luxury house in the upper-right background; retain only a slim window edge so the hand remains naturally scaled against the street. 페드로 stays seated at the wheel with his face outside the crop, his gesture identifying the house, and the stable frame emphasizes the direction of his attention without adding camera travel.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: Luxury house indicated by Pedro's fingertip in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: Passenger-side window opening (Open enough for Pedro's arm to extend outside) — Seen obliquely from outside and forward of the opening; used as Slim edge framing the arm without exposing the rest of the cabin; Luxury house across the street (The house Pedro is identifying) — Its street-facing exterior is visible beyond the pointing hand; used as Upper-right destination of the pointing vector, kept smaller than the foreground hand grouping; Street between the car and house (Separating the stopped car from the indicated house); used as Depth interval preventing the house from appearing adjacent to the window.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:페드로", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/b453e5f6-1c9e-489f-a931-b53af907156f.png" ] ], "asset_id": "4eb644d8-34f2-4dde-b653-dc4975a5e8e9" }, "S4sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S5sh10": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S5sh10.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L07B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Outside an upscale house, at the open living-room window beside an exterior wall corner.\n\nSHOT TEXT (authoritative, Korean): 열린 창문 밖으로 힘없이 꺾인 백인 여성형 집사 로봇의 상체를 벽 모퉁이의 이현우가 두 팔로 덥석 받아 안는 순간.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The disabled female butler robot is collapsing limply outside the open window, with her upper body caught and supported in both of Hyunwoo's arms, her mouth wide open, and her eyes rolled back. Her exact head angle, arm positions, leg positions, and lower-body support are unspecified.\n\nCARRIED STATE (persist exactly): The living-room glass window is open, while the front door retains its old key-operated lock. The female-form butler robot is incapacitated but still externally intact; the answered phone is playing the noisy digital recording. 이현우: Hyunwoo is beside the open living-room window, catching the collapsing butler robot in his arms. His ear communication setup remains in place.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track laterally outside the living-room window from the adjacent corner at below-eye height, maintaining a side three-quarter observer view and timing the move so neither of 이현우's forearms is hidden. Place him at lower right, knees yielding as he catches 백인 여성형 집사 로봇, whose limp upper body folds diagonally from the open window at upper left into his arms; his gaze drops to her weight while her rolled-up eyes convey lost consciousness rather than attention. Emphasize the change in body position alone, keeping the window geometry and camera distance stable and capturing the catch before the shepherd enters this composition.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: Open living-room window behind the collapsing robot in the upper-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: Living-room window opening (Open, with the robot collapsing through it) — Seen from outside at an oblique angle; the opening exposes a limited portion of the living room; used as Shared spatial anchor connecting the interior body to Hyunwoo's exterior catch; Adjacent exterior wall corner (Beside the window where Hyunwoo had hidden) — Its outer edge lies toward the right side of the composition; used as Lateral boundary that explains Hyunwoo's short interception route.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L07B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "1dd7fd01-6688-4035-ac05-5f0a0c3704b3" }, "S5sh20": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S5sh20.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L07B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the inside edge of a second-floor window in the upscale house, with daylight entering through the open escape window.\n\nSHOT TEXT (authoritative, Korean): 2층 창문 틀을 밟고 밖으로 몸을 날리려는 이현우의 오른쪽 종아리 바지를 셰퍼드가 사나운 이빨로 콱 물고 늘어지는 순간.\n\nCARRIED STATE (persist exactly): The living-room window remains open, and the disabled butler robot lies on the floor with torn head covering exposing metal underneath. The second-floor escape window is now open, and the shepherd has reached the upstairs window. 이현우: Hyunwoo is at the open second-floor window and sustains a dog bite to his leg. His ear communication setup has not been removed.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Inside the second-floor room, reduce the tracking speed at the bite while holding the low rear-right oblique angle and looking slightly upward toward the open window. 이현우's lower torso and legs run diagonally toward the upper-right opening, one foot planted on the frame, while 셰퍼드 reaches from lower left with its jaws clamped on the trousers at his right calf; retain the dog's shoulders, the bite, and the supporting foot together rather than isolating the teeth. Emphasize the arrested body movement alone: 이현우 remains intent on the escape opening beyond the crop, and 셰퍼드 angles its head upward into the held calf.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: Open second-floor window and supporting lower frame in the upper-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: Second-floor window frame (Window open, with Hyunwoo's foot bearing on the frame) — Its interior side and supporting lower edge are visible on the right; used as Footing reference and upper-right escape destination; Second-floor interior (Behind Hyunwoo along the shepherd's approach); used as Lower-left depth context distinguishing the dog's interior approach from Hyunwoo's outward movement.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L07B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "737ad8ec-60cb-4d2d-8fed-3f17f28c46a9" }, "S5sh24": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S5sh24.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L07B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the lawn outside the upscale house, directly below the second-floor escape window.\n\nSHOT TEXT (authoritative, Korean): 잔디밭에 꼿꼿이 선 이현우의 몸을 빙 둘러싼 채, 짙은 남색 제복을 입은 아시아계 한국인 경찰 여러 명이 권총을 일제히 겨눈 위압적인 구도.\n\nCARRIED STATE (persist exactly): The second-floor escape window and the living-room window remain open. The incapacitated butler robot remains on the floor with exposed metal in its damaged head. 이현우: Hyunwoo has landed outside and stood up, retaining the fresh dog-bite injury to his leg.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Settle the crane at its elevated, withdrawn endpoint and observe obliquely downward from 이현우's side, placing his full figure slightly left of center on the lawn. Korean Asian police in dark navy uniforms surround him across foreground, middle distance, and far side, all aiming handguns inward but with individually varied foot placement, elbow height, shoulder rotation, and spacing rather than cloned poses. Emphasize the completed increase in camera distance: 이현우 has straightened into a tense, arrested posture under the weapons and looks toward an officer beyond the near edge, while every visible officer remains intent on him rather than the lens.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Lawn (Occupied by Hyunwoo and the surrounding police) — Its ground plane is seen obliquely from above; used as Continuous shared surface making the near-side and far-side encirclement legible; Police handguns (Raised and aimed at Hyunwoo) — Their barrels converge inward from different positions around him, not toward the camera; used as Multiple small directional lines enclosing the central figure without oversized foreground weapons.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L07B02.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "795bd908-c628-42a4-8d1f-e085c55947c3" }, "S6sh21": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S6sh30": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S6sh46": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S7sh20": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S7sh20.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_artificial_seawall_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the open repair worksite beside the refugee settlement's cracked seawall, near the stopped military truck.\n\nSHOT TEXT (authoritative, Korean): 미연이 관리소장 코앞에 서서 손가락으로 금이 간 제방 벽을 정확히 가리키는 모습.\n\nCARRIED STATE (persist exactly): The seawall has severe cracks and visible water leakage; repair materials and equipment remain at the halted worksite. The military truck remains stopped in front of the forklift, and the puddle at the disembarkation point remains. 미연: Miyeon is out of the forklift and has pushed forward through the crowd near the truck. 관리소장: The camp administrator is beside the truck, attempting to return to it. His shoes remain dirty from the puddle splash.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Continue on the crowd-facing side of the confrontation at approximately shoulder height, looking obliquely past 관리소장’s near shoulder toward 미연 rather than along their opposing eyeline. Make only the permitted outward lateral adjustment: his shoulder clips the right foreground, while 미연 leans into the left-center midground and extends her finger clearly toward the cracked wall in the upper-left background. Her attention remains on his face just beyond the upper-right crop as she demands that he look; his shoulder begins turning toward the truck offscreen, making the pointing direction—not a lighting or distance change—the key visual emphasis.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: cracked embankment wall beyond 미연's pointing finger in the upper-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: Cracked embankment wall (Severely cracked, with leakage identified by 미연) — The damaged wall face is visible beyond the direction of her extended finger; used as Provides visible evidence for her accusation rather than an anonymous backdrop.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_artificial_seawall_sel.png" ], [ "char:미연", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/aaae0035-ada5-47e0-8877-df61885af57d.png" ] ], "asset_id": "057cea98-c7f4-4fb0-aa3d-7c8ee6a77306" }, "S7sh22": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S7sh26": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S8sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S8sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L16B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Just inside the entrance to a shabby refugee tribunal hearing room, in dim interior light.\n\nSHOT TEXT (authoritative, Korean): 어두침침한 재판소 안, 아시아계 경찰 두 명에게 양팔이 결박된 채 문 안쪽을 향해 상체가 기울어져 바닥에 무릎을 대고 있는 이현우의 모습.\n\nCARRIED STATE (persist exactly): The shabby courtroom contains a worn table, a chair and accumulated paperwork. 이현우: Hyunwoo enters with his arms held and his legs unable to support him reliably. His dog-bitten leg remains injured, and he is already feverish and dazed.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin just inside and to one side of the courtroom entrance, holding the elevated oblique position and looking diagonally down before tracking inward. Place 이현우’s kneeling body in the lower center, pitched toward the room at screen right, with an Asian officer on either side gripping an arm; the near officer bears weight on a planted leg while the farther officer is caught advancing, avoiding duplicated escort poses. 이현우 looks down toward the floor ahead as his legs fail, while the officers attend to his supported arms and the inward route; leave the entrance edge at the left margin and keep the judge outside this entry composition.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Courtroom entrance (Being traversed by the officers and 이현우) — The inside edge of the entrance appears obliquely at the left margin; used as Marks the entry boundary without adding restraints or blocking the escort; Courtroom floor (Supporting 이현우's knees as he is dragged inward); used as Makes his failure to support his own weight visible.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L16B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "b648cc69-3d30-4c34-98e9-81184f6f43eb" }, "S8sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S8sh19": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S9sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S9sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L18B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On a desolate rubbish heap immediately outside the refugee tribunal at night.\n\nSHOT TEXT (authoritative, Korean): 어두운 쓰레기 더미 위, 기절해 있던 이현우가 허리를 튕기듯 상체를 반쯤 들어올린 mid-action 자세로 입을 크게 벌린 찰나.\n\nCARRIED STATE (persist exactly): It is night outside the refugee court, surrounded by desolate rubbish heaps. 이현우: Hyunwoo is waking after the head blow, with his dog-bitten leg still injured. The judge's wallet is already in his pocket, since he retrieves it without acquiring it after waking.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Start on 이현우’s front-left diagonal above his partially raised torso, looking downward from the opening position of the crane path rather than meeting his frontal axis. Place his abruptly lifted chest and open mouth left of center, with his lower body continuing toward the lower-right edge and separate trash piles surrounding rather than obscuring him. Catch the instant his waist flexes out of unconsciousness and his eyes lift toward the surroundings beyond the right edge; hold this entry height before rising with his subsequent attempt to get up.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Trash piles outside the tribunal (Surrounding 이현우 where he regains consciousness); used as Frame his raised torso with uneven negative spaces and establish his discarded position.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L18B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "ece5766a-e7dd-4ef0-a96e-7c9aad2c4594" }, "S9sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S9sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S10sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S10sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L19B02.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At a secluded corner table inside a shabby alley restaurant, under modest nighttime interior lighting.\n\nSHOT TEXT (authoritative, Korean): 식당 안 외진 구석 탁자, 40대 아시아계 남성이 한 손으로 턱을 괸 채 무심하게 앉아있는 구도.\n\nCARRIED STATE (persist exactly): The meeting takes place at a secluded table inside the shabby alley restaurant at night.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin from the aisle in a held, slightly high three-quarter view diagonally toward the secluded table, establishing the position from which the dolly will approach. Place 식당의 40대 아시아계 남성 in the right middle ground, seated with his chin resting heavily on one hand and his indifferent gaze lowered toward the tabletop; the opposite seating position remains empty on the left. Keep enough of his seated figure and the surrounding corner visible to establish the transaction space before 이현우 enters.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Secluded restaurant table (Occupied on one side before 이현우 arrives) — The near edge runs diagonally toward the seated man, with the opposite seating area visible; used as Establishes the exchange axis and the empty place that 이현우 will occupy; Restaurant corner (A secluded area within the shabby restaurant) — The corner is viewed obliquely from the aisle; used as Contains the man in the rear of the composition while leaving approach space in the foreground.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L19B02.png" ] ], "asset_id": "8b93e4f8-749e-40c1-b16a-ac2ae46adec8" }, "S10sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S10sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S11sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S11sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S11sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_refugee_camp_gate_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the narrowing gap of the refugee settlement's closing perimeter gate, opening onto the entrance road at night.\n\nSHOT TEXT (authoritative, Korean): 이현우가 닫히는 출입문 틈 사이로 한쪽 어깨를 밀어넣고 앞발을 내딛은 mid-action 자세.\n\nCARRIED STATE (persist exactly): The camp entrance is in the process of closing, while the shops, container-home lights and streetlights remain shut or switched off. 이현우: Hyunwoo is squeezing into the camp before the entrance closes, retaining his injured leg and visible arrest injuries.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From inside the gate, hold a low, oblique angle offset from the incoming path and track backward with 이현우, keeping his shoulder and leading foot visible together. Place the narrowing opening in the right middle ground and catch him rotating one shoulder through it, his leading foot planting toward the lower center and his gaze directed past the camera toward the camp interior. Emphasize his advance through the gap while retaining the stage's camera axis and exposure; keep the other arriving refugees outside this selected frame.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Closing entrance gap behind the incoming shoulder in the middle-right of the frame, midground; Interior landing area for the leading foot in the lower-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: Camp entrance gate (Closing, with a remaining gap through which 이현우 enters) — The inside face and the oblique edge of the narrowing opening are visible; used as Frames his compressed shoulder and establishes the threshold crossed by his leading foot; Ground immediately inside the entrance (Receiving 이현우's leading step); used as Keeps the footfall and interior side of the threshold legible.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_refugee_camp_gate_sel.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "a844d3b7-5ec7-4214-a8d0-e1e7526f6df3" }, "S11sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S11sh8.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the exterior door of a family container home in a dark residential alley inside the refugee settlement.\n\nSHOT TEXT (authoritative, Korean): 이현우가 컨테이너 문의 낡은 쇠문고리를 쥔 채 고개를 푹 숙인 자세.\n\nCARRIED STATE (persist exactly): The home container is marked “7-31,” and its door remains closed at the moment of hesitation. The surrounding camp remains under the nighttime blackout. 이현우: Hyunwoo stands at his container entrance with one hand on the door handle, hesitating. His leg and arrest injuries persist.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold close beside and slightly behind 이현우's shoulder at chest height, looking obliquely down toward his bowed face and the hand below it. His shoulder forms a narrow left foreground edge, his lowered face occupies the upper middle, and his gripping hand meets the small door handle at lower right, with neither hardware nor door overwhelming the human frame. At this settled point in the approach, let his lowered gaze toward the gripped handle carry the change, his contracted neck and arrested hand making the hesitation readable without a frontal view.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Container entrance door (Not yet opened during 이현우's hesitation) — A limited oblique section of the exterior face is visible beside him; used as Terminates his movement and places the hand at a tangible threshold; Old iron door handle (Held in 이현우's hand) — Its projecting profile is visible beneath his bowed face; used as Provides a small lower-frame counterpoint to the paused face.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "311ba8df-0946-44de-9fda-2009a2d3abb7" }, "S12sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S12sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L22B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Beside the dining table in a refugee family's container home, lit by the candle set beside the evening meal.\n\nSHOT TEXT (authoritative, Korean): 앰버가 바지가 찢겨 피가 묻은 이현우의 다리 쪽에 시선을 둔 채 입을 크게 벌린 놀란 얼굴.\n\nCARRIED STATE (persist exactly): A burning candle lights the dining table, where Hyunwoo's meal has been laid out. The old clothes being mended remain at the table. 이현우: Hyunwoo has removed his outer top and is eating at the table. His face is injured, and his dog-bitten leg is visibly bleeding. 앰버: Amber remains near the dining table, visibly startled and still coughing intermittently.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Ease the tracking nearly to a stop along the table's outer edge at 앰버's eye height, retaining the three-quarter view of her face. Her open-mouthed reaction occupies the left and central frame, while a naturally scaled portion of 이현우's seated leg, with torn trousers and visible blood, remains at lower right beneath her downward eyeline; his face stays outside the crop. Keep camera distance and illumination steady so her gaze dropping to the injury is the emphasized change, using the table edge to connect her face and his leg in the same space.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Dining table edge (Beside 이현우 during his meal) — The outer edge recedes obliquely beside 앰버 and above the visible leg; used as Connects the child and seated adult without enlarging the foreground leg; 이현우's torn trousers (Torn and blood-marked around the injured leg) — The damaged area faces obliquely toward the camera at lower right; used as Supplies the visible cause of 앰버's reaction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L22B02.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ] ], "asset_id": "f03378b3-eaad-4a06-a08a-e250aa20d05a" }, "S12sh20": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S12sh23": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S12sh23.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L22B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Just inside the girl's sleeping room in the family container home, at the curtained doorway adjoining the candlelit common area.\n\nSHOT TEXT (authoritative, Korean): 방 안쪽에서 헝겊 커튼 틈새로 빼꼼히 내민 앰버의 눈동자.\n\nCARRIED STATE (persist exactly): The container's entrance door is now slammed shut, while the dining-table candle remains lit beside the meal, mending materials and opened medicine container. Amber's listening position is behind a room door; no fabric curtain is established. 앰버: Amber remains behind her room door, awake and listening.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Settle at the close end of the dolly from the common-room side of 앰버's opening, at her eye height and laterally offset from her outward gaze. Look directly through the cloth-curtain gap at a three-quarter portion of her face—eyes, brow, and part of her cheek—with the opening around the upper center and the curtain confined to narrow framing margins. The final approach supplies the distance change; capture her peering toward the off-screen common-room entrance before her gaze lowers, never toward the lens.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Cloth curtain at 앰버's room opening (Parted enough for 앰버 to peek through) — The common-room-facing folds flank an actual opening through which her face is seen, rather than viewed through the cloth; used as Frames and partially conceals her face while preserving the direction of her outward attention; 앰버's room opening (Separating her concealed position from the common room) — Viewed obliquely from the common-room side; used as Establishes that the camera remains outside her room and discovers her listening position.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L22B02.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ] ], "asset_id": "42ff5719-3ccf-48de-9c46-47ebee06bc65" }, "S13sh10": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S13sh10.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At an outdoor gang gathering beside the refugee settlement's seawall, near burning metal barrels and a barbecue grill.\n\nSHOT TEXT (authoritative, Korean): 이현우가 빼앗은 소총의 총구를 쿠마의 얼굴을 향해 정확히 겨눈 매서운 구도.\n\nCARRIED STATE (persist exactly): The hideout stands beside the cracked, leaking seawall at night; fires burn in metal drums, and chicken skewers remain on the barbecue grill. 이현우: He has put his outer top back on, and his facial injuries and untreated dog-bitten leg remain visible where exposed. He holds the seized gun raised and aimed. 쿠마: He is at the barbecue area, still holding a chicken skewer before discarding it and standing.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the dolly-in behind 이현우's left shoulder, slightly below his eyeline and offset from the firing axis, observing the confrontation directly rather than through the gun sights. His shoulder occupies the left foreground, with both gripping hands and the rifle forming a restrained diagonal toward 쿠마's face in the right midground; retain enough depth of field to read the aim and its target together. 이현우 holds rigidly on 쿠마 while 쿠마 turns his attention toward 이현우 without recoiling, making camera distance—not a new lighting or blocking change—the closing emphasis.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 이현우 behind the rifle in the middle-left of the frame, foreground, looks toward 쿠마 beyond the muzzle; 쿠마 beyond the muzzle in the middle-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: Seized rifle (Held steadily with its muzzle aimed at 쿠마's face) — Seen obliquely from behind its holder, with the barrel extending toward the right midground; used as Connects the foreground hands to the threatened face without exaggerated muzzle size; Barbecue grill (Present where 쿠마 has been eating chicken skewers) — A partial side and upper edge remain below 쿠마; used as Provides a restrained contextual trace of the interrupted meal.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ], [ "char:쿠마", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/960ccef5-9bdc-413f-8823-a4bd2711d4d1.png" ] ], "asset_id": "4ed837b5-18ce-4b3f-a221-547b32869e91" }, "S13sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S13sh19": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S14sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S14sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S14sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S15sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S15sh11": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S15sh11.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L25B04.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the junk shop's interior passage toward the street entrance, with daylight at the doorway and discarded appliances piled nearby.\n\nSHOT TEXT (authoritative, Korean): 이현우가 찰리의 거대한 금속 팔을 쥔 채 상점 밖을 향해 몸을 확 돌린 역동적인 구도.\n\nCARRIED STATE (persist exactly): The browser still shows the UBIK disappearance and reward articles, with appliances and scrap piled throughout the shop. Charlie's dirty exterior, worn coat and hat, and peeling UBIK logo remain unchanged. 이현우: He is leaving the shop, still bearing his facial injuries and dog-bitten leg.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Retreat parallel to the exit route from inside the entrance at 이현우's waist height, looking slightly upward and preserving the established lateral three-quarter view as he turns abruptly. Place 이현우 left of center and 찰리 to the right with both bodies substantially visible, keeping the gripping hand and 찰리's metal arm unobstructed between them and the exit route readable along the left edge. 이현우 looks toward the off-screen continuation of that route while 찰리 attends to 이현우's pull, so their changing body positions carry the action within a direct observer view rather than a new camera axis.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 이현우 turning toward the exit in the middle-left of the frame, midground, moves toward exit route at the left edge; 찰리 following the arm pull in the middle-right of the frame, midground, moves toward exit route at the left edge.\n- KEY BACKGROUND ELEMENTS: Shop entrance and exit route (Being used by 이현우 and 찰리 to leave) — Seen from inside the shop along the left side of the composition; used as Makes the direction of the turn and impending departure immediately readable; Piled appliances and scrap (Remaining stacked inside the shop); used as Frames the route without obstructing the hand-to-arm contact.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L25B04.png" ], [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/56ee7ae1-68b3-4ca9-bf60-2340783e6b9b.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "8c4866d2-deb8-481d-b29b-99ab1897d5b9" }, "S15sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S16sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S16sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S17sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S17sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S17sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S18sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S18sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L28B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the wooden wall behind the visitor's standing position inside a militia command office, in daytime interior light.\n\nSHOT TEXT (authoritative, Korean): 단도 끝이 윤성찬의 얼굴 옆 나무 벽면에 깊숙이 박힌 채 나무 파편이 허공에 정지해 있는 타격의 순간.\n\nCARRIED STATE (persist exactly): The thrown knife is now at the office wall and must not reappear as a handheld prop without retrieval. The speakerphone remains in the office. 윤성찬: He remains standing with his handkerchief, his face flushed from the sudden fright.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Cut to a static direct observation beside 윤성찬, just above his eyes and angled slightly downward across his cheek toward the adjacent wall, remaining in front of the wall plane. Place the knife's entry point at center-right and 윤성찬's startled facial edge in the left third, with the embedded blade and suspended wood fragments sharing the intervening space; the knife itself occupies only a small part of the frame. His head pulls away from the impact while his eyes remain directed toward 박철진 off-screen, making the abrupt change of camera distance—not a simultaneous lighting change—the shock.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: Wooden wall impact point immediately beside 윤성찬's face in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: Wooden wall beside 윤성찬 (Struck by the knife, with fragments airborne at the entry point) — Viewed at a shallow oblique angle beside the visible edge of his face; used as Places the impact immediately beside the threatened face without flattening their separation; Knife (Its tip is deeply embedded in the wall) — The exposed portion projects away from the wall and is seen from the side at an oblique angle; used as Forms the sharp impact detail while the adjacent face supplies human scale.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L28B02.png" ], [ "char:윤성찬", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/a13d4a18-0975-4359-99d6-64f23dba3390.png" ] ], "asset_id": "4827fcb4-47f2-4df7-b3e2-68e4ae5f0ce9" }, "S18sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S19sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S19sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the rear passenger compartment of a luxury car, facing the chauffeur's front seat through the compact cabin in daylight.\n\nSHOT TEXT (authoritative, Korean): 고급 승용차 뒷좌석에 앉은 윤성찬이 앞좌석 쪽으로 몸을 바짝 기울인 채 매서운 눈빛을 뿜는 구도.\n\nCARRIED STATE (persist exactly): 윤성찬: He is seated in the car and retains his handkerchief from the office visit.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: End the approach just behind the front passenger seat's inner edge, at 윤성찬's seated upper-chest height, looking diagonally rearward and slightly upward in a direct observational view. Place his leaning upper body in the right two-thirds, with a narrow passenger-seat edge at left and the rear seat behind him, stopping short of the space occupied by his deepest forward lean. His sharp gaze passes toward 윤성찬의 비서 at the off-screen driver's position; emphasize his forward displacement while holding the low three-quarter angle.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Front passenger seat (Its inner edge lies beside the camera's view into the rear cabin) — Only a narrow rear-facing edge is visible at frame left; used as Provides restrained foreground framing without obscuring the forward lean; Rear seat (Occupied by 윤성찬 as he leans away from its back) — The backrest is seen obliquely behind his upper body; used as Clarifies that the command is delivered from the rear passenger position.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:윤성찬", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/a13d4a18-0975-4359-99d6-64f23dba3390.png" ] ], "asset_id": "a15de631-17e1-4f0d-9966-78060d1cad3e" }, "S20sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S20sh5.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At an outdoor residential alley junction near the searched container home in the refugee settlement.\n\nSHOT TEXT (authoritative, Korean): 다른 골목을 빠져나가려는 이현우의 앞을 건장한 아시아계 사복경찰들이 일렬로 막아선 위압적인 구도.\n\nCARRIED STATE (persist exactly): Container home 7-31 is being searched, with the resulting disorder remaining in place. 이현우: He is in the alley, still bearing his earlier facial injuries and dog-bitten leg.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Reduce the lateral track behind 이현우's shoulder, offset toward 페드로 at waist height, and look slightly upward in a direct over-shoulder view of the blocked alley. Keep 이현우's rear shoulder and checked stride along the left foreground edge and 페드로's angled back at lower right, their attention fixed farther along the now-blocked route, while the full line of sturdy Asian plainclothes officers occupies the middle distance. The questioning officer addresses 이현우's face just outside the upper-left edge; vary the other officers' planted feet, weight shifts, and shoulder angles within the same barrier, making the line's completed positioning the primary change rather than adding a camera push.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Alley retreat route (Blocked across its width by the plainclothes officers) — The route recedes obliquely between the foreground pair and the police line; used as Shows that the officers occupy the available exit rather than merely standing nearby.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "7331e487-c728-4126-88f2-40fa9a6a780b" }, "S20sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S20sh12": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S20sh12.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the entrance to a narrower side alley branching off the refugee settlement's market lanes.\n\nSHOT TEXT (authoritative, Korean): 맹렬히 휘둘러진 개머리판이 이현우의 광대뼈에 정통으로 꽂히며 얼굴이 옆으로 확 꺾인 타격의 찰나.\n\nCARRIED STATE (persist exactly): The market-alley boxes knocked down during the escape remain scattered. Container 7-31 remains disturbed by the search. 이현우: He retains his dog-bitten leg and earlier facial injuries while taking the rifle-butt blow. The resulting facial bruising carries into detention.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Momentarily check the handheld lateral movement beside 이현우 at upper-chest height, looking slightly upward across the encounter from outside the rifle butt's swing path. Place his three-quarter face just left of center as the butt enters from the right and meets his cheek, keeping the weapon small enough to retain his folding shoulder and a strip of the narrow alley entrance behind him. His head snaps sideways while his eyes remain oriented toward the off-screen attacker rather than the lens; emphasize this bodily displacement without widening or adding an impact-light cue.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Rifle butt (In contact with 이현우's cheek during the strike) — Enters laterally from frame right with its striking end against the cheek; the wielder remains outside the crop; used as Makes the interception readable without letting the weapon overwhelm the human reaction; Narrow alley entrance (The route 이현우 was attempting to enter when intercepted) — A limited oblique view remains behind his collapsing shoulder; used as Retains the spatial context of the interrupted escape.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "c419904c-288b-4c09-87c9-7533ec42de5a" }, "S21sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S21sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L23B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On a worn bed in a child's container home used as a temporary resting place, in soft daytime ambient light.\n\nSHOT TEXT (authoritative, Korean): 낡은 침상 위에 누운 앰버가 옅은 미소를 띤 채 평온하게 두 눈을 감고 있는 얼굴.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Amber is asleep, reclining on the bed with both eyes closed and her face relaxed. The positions of her arms and legs, the angle of her head, and whether her torso faces upward or sideways are unspecified.\n\nCARRIED STATE (persist exactly): 앰버: She is asleep inside Raul's container.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold the flow's entry position beside the head of the bed, looking diagonally down at 앰버 rather than along her facial axis, before the pullback begins. Her three-quarter face occupies the central half of the image, with her reclining shoulder and a narrow section of the worn bed below; her closed eyes and faint smile express undisturbed sleep, without suggesting a dream image.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Worn bed (Occupied by the sleeping 앰버) — A cropped portion of its upper surface appears beneath her head and shoulder; used as A narrow contextual border anchors the face in the sleeping space.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L23B02.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ] ], "asset_id": "1e4cb78a-a709-4c36-bd49-7e384185700d" }, "S21sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S22sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S22sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S22sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S23sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S23sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L30B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the central table inside a spacious detention-center visiting room, in ordinary daytime interior light.\n\nSHOT TEXT (authoritative, Korean): 앞으로 모은 수갑 찬 두 손바닥을 바짝 밀착한 자세의 이현우가 눈물 맺힌 눈으로 윤성찬을 애절하게 올려다보는 시선.\n\nCARRIED STATE (persist exactly): A table stands in the middle of the spacious visiting room. 이현우: He is seated at the central table with his hands cuffed. His face is bruised, and the dog-bite injury to his leg remains untreated.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Continue the approach from just behind and outside 윤성찬's shoulder, looking obliquely downward across the table as the camera closes on 이현우. His bruised, tearful three-quarter face occupies the center-left, his tightly pressed palms and cuffed wrists remain along the lower frame, and a narrow strip of 윤성찬's suited shoulder marks the right foreground. Leave breathing room above 이현우's eyes as he pleads toward 윤성찬's off-frame face; 윤성찬's cropped upper body inclines toward the seated man, making reduced camera distance the principal emphasis.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Visitation table (Positioned between 이현우 and 윤성찬) — A narrow oblique strip of tabletop appears beneath the joined hands; used as Maintains the shared dialogue axis and the physical distance underlying the plea; Handcuffs (Still fastening 이현우's wrists before their removal) — Visible around the wrists beneath his pressed palms; used as A small lower-frame detail makes the plea's constrained physical posture legible.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L30B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "fef5f11b-4b93-49e9-b87e-547e83090ee5" }, "S23sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S23sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S24sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S24sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L21B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the open entrance threshold of a family container home in the refugee settlement, with daylight crossing into the common room.\n\nSHOT TEXT (authoritative, Korean): 이현우가 7-31이 적힌 컨테이너 현관문을 거세게 밀어내며 한 발을 안으로 뻗어 몸을 막 들이민 급박한 뒷모습.\n\nCARRIED STATE (persist exactly): The home is still numbered 7-31, and its interior retains the disorder and damage from the militia search; no cleanup is described. 이현우: He is entering the container without handcuffs, retaining his facial bruises and dog-bitten leg. He now has the contact card obtained during the detention-room encounter, later revealed to be concealed in his shoe.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Enter the flow outside the entrance, behind and slightly left of 이현우 at shoulder height, looking obliquely along his movement through the doorway. His full rear figure occupies the central third as one arm forcefully pushes the door inward and his leading foot crosses the threshold, his head directed toward the interior rather than back at the camera. Keep the numbered exterior face of the angled door readable at screen right and the opening ahead at upper center, emphasizing his forward body movement as the track begins.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Container interior entrance in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: Container entrance door marked 7-31 (Being pushed inward by 이현우) — The exterior face bearing 7-31 remains visible at an oblique angle on screen right; used as Identifies the entrance while its moving edge reveals the route inside; the door occupies less than one third of the frame; Entrance threshold and opening (Being crossed by 이현우) — The opening lies ahead of his body, with the threshold below his advancing foot; used as Provides a clear screen-space destination for the following camera without inventing interior furnishings.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L21B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "75bf1138-e4d0-42ea-92a4-e52f8c38b7c8" }, "S24sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S24sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S25sh15": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S25sh24": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S25sh29": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S25sh29.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_outdoor_reception_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Behind a wall corner in a secluded refugee-settlement alley away from the reception lot, outdoors at night.\n\nSHOT TEXT (authoritative, Korean): 골목 모퉁이 벽면에 이현우, 앰버, 라울, 페드로, 찰리가 등을 바짝 기댄 채 숨죽인 긴장된 자세.\n\nCARRIED STATE (persist exactly): The settlement remains illuminated after the blackout reversal, with some bulbs burst. Charlie is concealed behind an alley wall in his old coat and hat; the manhole cover in the rubbish dump has not yet been moved. 이현우: He is hiding behind the alley wall after running, retaining his facial bruises, leg wound and outer garment. His contact card remains concealed in his shoe. 앰버: She is hiding behind the alley wall after the escape run. 라울: He is hiding behind the alley wall, breathless from running. 페드로: He is hiding behind the alley wall, breathless from running.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the concealed side of the alley corner, settle the handheld camera below shoulder height and look obliquely along the wall, keeping the corner as a narrow left-edge occlusion and all five bodies within the frame. Arrange 이현우 nearest the corner with his knees flexed, 앰버 next with her shoulders drawn inward, then 라울 slightly lower, 페드로 catching his breath, and 찰리 farther right with his head puzzledly tilted, each pressing their back to the same wall without forming an evenly spaced lineup. Their attention stays toward the militia in the alley beyond the left edge; emphasize their newly compressed positions and let the handheld drift nearly disappear.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Outer corner of the sheltering alley wall in the middle-left of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: Alley corner wall (The group is concealed behind the corner with their backs against its adjoining face) — The sheltering wall recedes obliquely across the image, with its outer corner at the left edge; used as Establishes the shared hiding surface and blocks a direct view of the militia's position; Concealed alley floor (Occupied by the five companions after their hurried stop); used as Keeps their differing foot placements and compressed spacing visible.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_outdoor_reception_sel.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ] ], "asset_id": "2e756d97-d5c0-4dc9-88d5-254ef25684d3" }, "S26sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S26sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S26sh12": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S26sh12.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L32B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside a dark underground sewer passage beyond a fork beneath the refugee settlement, with only faint ambient visibility.\n\nSHOT TEXT (authoritative, Korean): 이현우가 기침하는 앰버를 자신의 등에 단단히 업은 채 좁은 하수도를 향해 한쪽 발로 바닥을 강하게 차내며 질주하는 미드액션 자세.\n\nCARRIED STATE (persist exactly): The sewer route has reached a fork, and the rubbish-dump entrance cover remains displaced. Charlie follows along the chosen branch in his old coat and hat. 이현우: He runs in a piggyback-carrying posture without his outer garment, retaining facial bruising and his injured leg. His contact card remains concealed in his shoe. 앰버: She is being carried piggyback, coughing more severely, with the outer garment still covering her mouth.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin tracking from behind and slightly beside 이현우 at waist height, tilting gently upward along the chosen sewer branch while retaining his driving foot, supporting arms, and 앰버's body on his back. Place the pair in the lower-center foreground moving toward the upper-right depth: 이현우 pitches forward over the push-off while watching the passage ahead, and 앰버 curls against his shoulder during a cough with her gaze lowered. Emphasize the forceful change in their position along the passage, keeping 찰리 behind the camera rather than crowding the departure frame.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Sewer branch continuing in the escape direction in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: Chosen sewer branch (The pair is entering this branch after separating from 페드로 and 라울) — The passage recedes from the foreground toward the upper-right background; used as Gives the push-off a readable destination and preserves the rear-side tracking route; Sewer floor (이현우's driving foot is pushing against it); used as Keeps the point of propulsion visible beneath the carried pair.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L32B03.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ] ], "asset_id": "370c5e80-0275-4785-b540-af69ec16bd57" }, "S27sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S27sh20": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S27sh22": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S28sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S28sh6.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the rear passenger and cargo area of a van, between scattered cardboard boxes with nighttime light entering through its windows.\n\nSHOT TEXT (authoritative, Korean): 이현우가 찰리의 거대한 금속 상체를 종이상자들 틈새 바닥으로 거칠게 짓누르는 힘이 실린 자세.\n\nCARRIED STATE (persist exactly): Boxes remain spaced through the van's rear seating area, providing hiding gaps, and the crude halogen cross remains on the roof. Charlie is being concealed low among the boxes, still wearing his old coat and hat. 이현우: He crouches low in the rear box-filled area, with facial bruising and the injured leg. His outer garment remains removed, and the contact card remains hidden in his shoe.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From just below the rear-compartment ceiling, hold the crane's steep downward view past 이현우's three-quarter side into the gap between the boxes. Place his folded torso at upper left and 찰리's compressed metal upper body diagonally across the lower center, keeping both pressing arms and their contact unobstructed; 이현우 watches 찰리 while 찰리's face points down toward the floor. Emphasize the downward displacement of the bodies rather than introducing a new lighting or viewing axis.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Paper boxes (Sparsely arranged around the hiding gap) — Their upper edges and inward-facing sides border the bodies without masking the pressing hands; used as Fragmented edge framing that makes concealment and restricted space immediately legible; Rear-compartment floor (Exposed between the boxes); used as Visible destination of the downward pressure.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/56ee7ae1-68b3-4ca9-bf60-2340783e6b9b.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "63d83325-d1b8-4ba9-8d9b-7fc9b13331b5" }, "S28sh7": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S28sh7.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_militia_road_checkpoint_sel.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Outside the driver's side window of a van stopped at a militia checkpoint at night.\n\nSHOT TEXT (authoritative, Korean): 운전석 옆 창문 밖에서 소총을 멘 아시아계 민병대원이 굳은 표정으로 서 있는 구도.\n\nCARRIED STATE (persist exactly): The rear boxes remain arranged as cover, with Charlie concealed among them in his old coat and hat. The roof-mounted halogen cross is still present; the driver's window is being requested open, with no completed lowering yet specified.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Cut explicitly into the front cabin, just behind 신부 on his passenger side at seated shoulder height, looking obliquely and slightly upward across his shoulder through the driver's window. Keep 신부 as a narrow lower-left foreground edge and the Asian militia member waist-up at center-right, his rifle slung and shoulders held taut as he watches 신부; 신부 turns toward the checkpoint interaction. Hold this stage-entry composition static, making the redirected attention outside the van the principal change.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Driver's window surround (The window is the checkpoint's point of contact; its opening state is not emphasized) — Seen obliquely from inside the cabin, bordering the militia member outside; used as A practical frame separating the protected interior from the inspection; Slung rifle (Carried by the militia member) — Seen obliquely alongside his torso rather than aimed toward the lens; used as Secondary evidence of the checkpoint's threat.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_militia_road_checkpoint_sel.png" ] ], "asset_id": "cf805284-ac6f-42f5-aa8b-e44c8f58c686" }, "S28sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S29sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S29sh8.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L35B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the foot of the stairway inside a church's sparse basement prayer room, lit by the priest's candle.\n\nSHOT TEXT (authoritative, Korean): 신부가 검지손가락을 자신의 입술에 바짝 가져다 댄 채 매서운 눈빛을 보내는 동작.\n\nCARRIED STATE (persist exactly): The basement prayer room contains a cross, a small desk, chairs and a small harmonium, with the candle brought downstairs providing light. Charlie remains there in his old coat and hat; the church entrance is still shut before it is answered. 신부: He is preparing to ascend the stairs, wearing his clerical collar and carrying the candle brought down earlier.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the inward dolly at 신부's upper-chest height, slightly tilted upward from his oblique side, with 이현우's shoulder retained as a soft sliver at lower left. 신부's face and raised index finger occupy the central-right portion; he presses the finger close to his lips and fixes his sharp gaze on 이현우 rather than the lens, while 이현우 attends to the warning. Arrest the approach at the completed gesture, emphasizing reduced camera distance before the following move toward the stairs.\n- FRAMING SCALE: close-up\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L35B03.png" ], [ "char:신부", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/ca1082ed-9323-4ac1-96e7-71a4cf3a4ea4.png" ] ], "asset_id": "5fb34c39-5546-49d4-be4e-ba102f8e791b" }, "S29sh13": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S29sh13.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L35B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Outside the church's closed main entrance, on the nighttime approach immediately beyond the doors.\n\nSHOT TEXT (authoritative, Korean): 굳게 닫힌 성당 문 밖, 구도환과 신부가 서로 마주 보고 선 대치 구도.\n\nCARRIED STATE (persist exactly): The church entrance has been opened and its small viewing hatch opened; the text provides no subsequent closing. The basement retains its cross, small desk, chairs and harmonium, with Charlie waiting there in his old coat and hat. 신부: He is outside the church entrance, wearing his clerical collar and retaining the candle brought upstairs.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: After the explicit exterior cut, hold at adult shoulder height nearly perpendicular to the face-to-face axis, with the closed church door receding obliquely behind the pair. Frame 구도환, a man in his fifties, on the left and 신부 on the right in full-body opposing profiles, leaving a charged interval between them; 구도환 inclines his head toward 신부, who listens with his torso slightly checked back, and each watches the other's face. Keep the composition static and let their reciprocal attention, not a lighting change, define the confrontation.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Church entrance door (Firmly closed) — The exterior face recedes at an oblique angle behind the two men; used as A shared threshold anchoring the exterior encounter, kept to a limited background portion.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L35B01.png" ], [ "char:신부", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/ca1082ed-9323-4ac1-96e7-71a4cf3a4ea4.png" ] ], "asset_id": "0f7f9a8e-53e4-47a5-b4c4-2cf55c90fb71" }, "S29sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S30sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S30sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S30sh17": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S31sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S31sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L44B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the interrogation chair inside a third-floor room of the brightly lit refugee-settlement administration building.\n\nSHOT TEXT (authoritative, Korean): 얼굴이 퉁퉁 붓고 피멍이 든 미연이 의자에 앉아 고통스러운 표정으로 앞을 응시하는 얼굴.\n\nCARRIED STATE (persist exactly): The management building remains brightly illuminated, with the interrogation taking place on the third floor. 미연: She remains detained in the third-floor interrogation room, her face badly swollen from the beating.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the inward dolly just outside 박철진's shoulder on the established conversation-axis side, slightly above 미연's seated eye level and angled down toward her three-quarter face. Her swollen, bruised face occupies the central-left majority of the image while his shoulder recedes to an extreme-right sliver; she sits with pain-tightened shoulders and looks at him, never into the lens, as he attends to her response. Emphasize the closing distance and use shallow depth of field to keep her expression legible without erasing the interrogator's presence.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 미연's chair (Occupied) — Only a small supporting edge is visible beneath her shoulder; used as Minimal evidence of her seated position without widening away from her face.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L44B03.png" ], [ "char:미연", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/aaae0035-ada5-47e0-8877-df61885af57d.png" ] ], "asset_id": "7ee00446-d130-4c9e-8fbc-177baed0bf3e" }, "S31sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S31sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S32sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S32sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S32sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S33sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S33sh10": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S33sh10.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_camp_church_airspace_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the administration building's outdoor yard, on the approach to its exterior stairs at night.\n\nSHOT TEXT (authoritative, Korean): 이현우가 환하게 불이 켜진 관리사무소의 외부 계단을 향해 상체를 웅크린 채 한쪽 뒷발로 땅을 강하게 밀어내며 전력 질주하는 뒷모습.\n\nCARRIED STATE (persist exactly): The manhole beside the management building is now open, and the building remains brightly illuminated; its third-floor detention room is still locked. The church's basement entrance has been discovered, while the cracked, leaking seawall has not yet been breached. 이현우: He has emerged from the manhole and is ascending the office stairs, retaining facial bruising and the injured leg. His outer garment remains removed and his contact card stays in his shoe.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Use the rear three-quarter section of the yard tracking path, rising toward 이현우's waist height while looking slightly upward toward the exterior stairs. Keep his full, forward-hunched figure in the lower-left to center, with the trailing foot still visible at push-off and the stairs ahead in the upper-right; his attention stays on the stair approach, not the camera. Emphasize his advancing position in this direct pursuit view, excluding the departing guards and trucks from the crop rather than interrupting the route with another subject.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Exterior stairs ahead of 이현우 in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: Exterior office stairs (Ahead along 이현우's approach) — The foot of the stairs faces diagonally toward the approaching camera; used as Makes his immediate destination legible beyond his trailing foot; Management-office exterior (Adjoining the stairs) — Only the section bordering the stair route is retained; used as Anchors the stairs to the building without distracting from the sprint; Office yard ground (Crossed by 이현우); used as Retains the contact point of the pushing foot and the route toward the stairs.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_camp_church_airspace_sel.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "d075bc89-3d0f-442f-bf0f-022fc1aac3ad" }, "S33sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S34sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S34sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L44B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the third-floor corridor outside the locked detention-room door of the illuminated administration building.\n\nSHOT TEXT (authoritative, Korean): 이현우가 어깨 위로 번쩍 치켜든 붉은색 소화기 바닥이 낡은 철문 손잡이에 맹렬히 내리꽂히는 타격의 순간.\n\nCARRIED STATE (persist exactly): The third-floor detention-room door remains locked while its handle is being struck; the handle does not break away until the fifth or sixth attempt. The management building is still illuminated, and the fire extinguisher has been removed from its corner position. 이현우: He stands outside the locked room holding the fire extinguisher, with facial bruises and the unhealed leg wound. His outer garment remains removed and his contact card stays concealed in his shoe.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Continue the corridor approach at door-handle height, oblique to the door and safely beside 이현우 rather than beneath the extinguisher's swing. Frame his twisting upper body on the left and the handle at center-right, catching the red extinguisher's descending base at contact while his hands and downward concentration remain readable. Observe the impact directly and emphasize the striking movement alone; keep the extinguisher below a third of the image, with his torso and a limited section of the old iron door establishing scale.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Red fire extinguisher (Its base is striking the door handle) — The base angles downward into the handle, with part of the body visible beside his hands; used as Defines the strike without obscuring the contact point or human scale; Old iron door and handle (The door remains closed as the handle receives the blow) — A cropped corridor-facing section and the projecting handle are seen obliquely; used as Keeps the impact target and resistant barrier legible together.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L44B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "99714a35-51e9-4658-8319-a0fca25f2aa9" }, "S34sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S34sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S36sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S36sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L32B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the floodwater surface outside the sewer outlet in the inundated refugee settlement at night.\n\nSHOT TEXT (authoritative, Korean): 하수도 밖 검은 바닷물 위로 튕겨 나온 앰버가 턱을 하늘로 치켜들고 고통스럽게 입을 벌린 위태로운 얼굴.\n\nCARRIED STATE (persist exactly): The sewer has filled with surging seawater, which is forcing its contents outside. Charlie is submerged in the flood; his worn exterior, peeling UBIC chest logo, and previously acquired coat and hat have not undergone any stated repair or replacement. 앰버: She has been swept out of the sewer and is struggling in the seawater, with soaked clothing. Her severe coughing and breathing difficulty precede the inundation.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Maintain the surface-observation stage outside the sewer, with the lens just above the water and below 앰버's chin, looking upward at her three-quarter side in a close, lightly handheld composition. Her face occupies the upper center-right, while her neck and struggling shoulder descend toward the lower edge and visible seawater surrounds them. Observe her directly as she throws her chin toward the open sky and opens her mouth in distress, holding the viewing side and distance steady so her upward gaze is the expressive change.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Seawater outside the sewer (Surrounding 앰버 as she struggles after being swept outside) — Seen directly at surface level beneath and beside her face; used as Maintains the immediate drowning context around the close facial framing.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L32B01.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ] ], "asset_id": "1fd85d4d-97d5-4061-b50d-f17cbf5e8f19" }, "S36sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S37sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S37sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S37sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L44B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At a windowed upper-floor circulation area inside the administration building, as floodwater breaks through the glass into the lit interior.\n\nSHOT TEXT (authoritative, Korean): 허공으로 튀어 오르는 날카로운 유리 파편과 거친 바닷물이 서로를 껴안은 미연과 이현우를 완전히 덮치기 직전의 찰나.\n\nCARRIED STATE (persist exactly): The management-building windows are breaking as the wave strikes, sending glass fragments and seawater into the interior. This damage replaces the intact-window state. 이현우: He is on a higher floor with his upper body drawn into a protective huddle. His facial bruises and leg injury remain, and the contact card is still concealed inside his shoe. 미연: Her arms are wrapped forward in a protective embrace immediately before the wave engulfs her. Her face remains swollen from the beating.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the retreat from the corridor's interior side at waist height, looking slightly upward across the embracing pair toward the breaking window. Place 미연 and 이현우 just left of center with their full, braced bodies readable, 미연 folding around him and 이현우 drawing her close, their faces buried toward one another rather than addressing the lens. In this direct observer view, the widening distance exposes the path from the upper-right window through airborne glass and surging water to their bodies, freezing just before the embrace is completely obscured and keeping individual fragments small.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: breaking window behind the embracing pair in the upper-right of the frame, background; incoming water and scattered glass in the middle-right of the frame, midground, moves toward embracing pair left of center.\n- KEY BACKGROUND ELEMENTS: Breaking corridor window (Shattering as the wave enters) — Seen obliquely behind and to the right of the embracing pair, with water crossing its opening; used as Establishes the origin of the incoming impact; Airborne glass fragments (Scattering inward from the breaking window) — Distributed along the diagonal between the window and the pair; used as Traces the impact route without oversized foreground shards; Incoming seawater (Entering the corridor immediately before covering the pair) — Surges from the window toward the interior foreground; used as Connects the exterior disaster physically to the embrace.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L44B02.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ], [ "char:미연", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/aaae0035-ada5-47e0-8877-df61885af57d.png" ] ], "asset_id": "a9e9e63f-b94c-4a13-94c0-695c11fe79c9" }, "S38sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S38sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L48B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On a detached container panel floating on the open sea at dawn, apart from the other drifting wreckage.\n\nSHOT TEXT (authoritative, Korean): 바다 저편에 떠 있는 다른 컨테이너 판자 위에 미연이 피를 흘린 채 미동 없이 쓰러져 있는 구도.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Miyeon is reclining helplessly on a floating container panel, supported by the panel and bleeding from her abdomen. Her precise head angle, arm and leg positions, and face-up or sideways orientation are unspecified.\n\nCARRIED STATE (persist exactly): At dawn, detached container panels and containers float on the sea. Charlie remains inside a container among storage boxes after a night of impacts and drifting. 미연: She is reclining helplessly on a floating container panel with a bleeding puncture wound in her abdomen. Her earlier facial swelling remains.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From an elevated position beside 이현우's floating panel, settle the pan in an oblique downward view of 미연 on her separate, distant panel, keeping 이현우 outside the frame. Place her motionless full body in the upper-right middle distance, with the panel small beneath her and an uninterrupted expanse of water across the foreground and center. This direct observer view holds its distance rather than inspecting the wound: her closed eyes and slack posture offer no active gaze, while the visible blood remains subordinate to the isolating gap.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: distant panel supporting 미연 in the upper-right of the frame, background; uninterrupted water separating the camera from 미연 in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 미연's container panel (Floating separately with 미연 lying on it) — Its upper surface is seen obliquely from above beneath her full body; used as Supports the distant figure at a natural relative scale; Intervening sea (Separating 미연's panel from 이현우's position) — Extends from the near foreground to the distant panel; used as Makes separation the principal compositional fact.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L48B01.png" ], [ "char:미연", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/aaae0035-ada5-47e0-8877-df61885af57d.png" ] ], "asset_id": "35abcbab-54bd-449c-ab76-ae08e7038daf" }, "S38sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S38sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S39sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S39sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S39sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the open water surface above the drowned refugee settlement, beside small drifting wooden fragments.\n\nSHOT TEXT (authoritative, Korean): 물에 잠긴 난민촌 바다 위, 페드로와 구도환이 낡은 널빤지 조각에 간신히 매달려 탈진한 채 눈을 감은 위태로운 구도.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Pedro floats exhausted in the floodwater with his eyes closed, clinging to a fragment of wooden planking that supports him. His exact grip, head angle, torso orientation, and submerged leg positions are unspecified.\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Dohwan floats exhausted in the floodwater with his eyes closed, clinging to a fragment of wooden planking that supports him. His exact grip, head angle, torso orientation, and submerged leg positions are unspecified.\n\nCARRIED STATE (persist exactly): The settlement remains submerged beneath seawater, with containers, debris, and bodies floating across it. 페드로: He is still floating in the flooded settlement. 구도환: He is still floating in the flooded settlement; his exact grip, head angle, torso orientation, and submerged leg positions are unspecified.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: The broadcast drone's elevated three-quarter side view eases out of its descent into a near-hold, retaining both floating bodies and the surrounding sea without adding a screen border or interface. Place 페드로 left of center and 구도환 right of center, their exhausted bodies trailing at slightly different angles from the shared board across the lower middle; both have closed eyes, with their faces and strained grips unobstructed. Emphasize only the closing camera distance from the preceding aerial observation, keeping the board smaller than either person's visible body.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Sea over the submerged refugee camp (The refugee camp is inundated; both people float in the water); used as Open water surrounds the pair and establishes their lack of secure footing; Old board fragment (Floating, with both people barely holding on) — Its upper face and near edge are visible diagonally between their hands; used as A small shared support connects the two otherwise drifting bodies.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:페드로", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/b453e5f6-1c9e-489f-a931-b53af907156f.png" ], [ "char:구도환", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/14defed0-e844-4b04-95dd-2eaf663521b2.png" ] ], "asset_id": "07af7eae-d00a-466b-bf36-56e945935fc1" }, "S40sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S40sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L50B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the exposed road at the refugee settlement's outskirts, looking back toward the flooded area in daylight.\n\nSHOT TEXT (authoritative, Korean): 제자리에 우뚝 선 앰버가 눈물범벅이 된 얼굴로 난민촌 쪽을 바라보는 애절한 시선.\n\nCARRIED STATE (persist exactly): The settlement behind the escape route remains flooded. Charlie accompanies the escape on foot, with his old metal exterior and peeling UBIC chest logo unrepaired. 앰버: She has stopped from exhaustion and keeps looking back. Her face is covered in tears.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the tracking deceleration beside 앰버 on the campward side of her shoulder line, slightly above eye level and looking gently downward at her turned face in three-quarter view. Her tear-covered face and arrested shoulders occupy the right half, leaving the left side open along her gaze toward the refugee camp outside the frame; her torso still points toward the city while exhaustion holds her in place. Emphasize the backward gaze rather than introducing a new lighting or screen-direction change.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Route from the camp toward the city (The route on which the group has been running) — Only a soft, partial stretch remains behind her turned shoulders; used as Maintains the movement context without competing with her face.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L50B01.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ] ], "asset_id": "45544ccf-d081-428c-95f0-721b0bf45331" }, "S40sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S41sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S41sh22": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S41sh27": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S42sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S42sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the muddy entrance road of the refugee settlement at night, beside an opened body bag.\n\nSHOT TEXT (authoritative, Korean): 박철진이 보디백 안의 창백한 구도환의 시체를 향해 턱을 치켜들고 무심하게 내려다보는 시선.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Dohwan's corpse is enclosed in a body bag with the opened zipper exposing his pale face for inspection from above. His exact head angle, torso orientation, limb positions, and the surface supporting the bag are unspecified.\n\nCARRIED STATE (persist exactly): At the settlement entrance at night, a body bag lies with its zipper opened to expose the face inside. 박철진: He is standing over the opened body bag.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the low position beside the opened body bag, complete the upward tilt into an oblique low-angle view of 박철진 while retaining 구도환's exposed face along the lower-left foreground. 박철진 occupies the upper-right middle distance with his chin lifted but his eyes lowered toward the corpse, positioned far enough beside the bag for that downward glance to remain natural. Keep the bag below a third of the image and emphasize the transfer of attention from the dead face to the indifferent observer rather than a new lighting effect.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: Opened body bag around the exposed face in the lower-left of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: Body bag (Unzipped sufficiently to expose 구도환's face) — The opening faces upward and is visible obliquely from beside the head; used as Anchors the low foreground and connects the corpse to 박철진's downward attention.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:박철진", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/f3f8230b-dae8-4b22-af1e-4b6311414b25.png" ] ], "asset_id": "82c158c8-bc9e-4527-ab9e-386ee7694053" }, "S42sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S42sh18": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S43sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S43sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L52B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the desk inside an imposing defense minister's private office, under ordinary office lighting.\n\nSHOT TEXT (authoritative, Korean): 화려한 집무실 안, 국방장관이 한 손에 전화기를 든 채 거만하게 턱을 괸 삐딱한 구도.\n\nCARRIED STATE (persist exactly): 국방장관: He is in his office conducting a telephone call.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin at the flow's chest-height position off 국방장관's frontal axis, holding the entry composition with a slight upward angle before the dolly advances. Place him right of center in an asymmetrical waist-up view, torso canted, one hand holding the telephone and the other supporting his chin; he listens to the remote caller while looking downward beyond the frame, never toward the lens. Leave a restrained portion of the ornate office visible on the left, making the relaxed supported posture the authority cue without inventing specific furnishings.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Telephone (Held in one hand during the call) — Seen obliquely beside his face, without presenting a display to the camera; used as Provides the visible connection to the off-site conversation without becoming a device-view image; Ornate office interior (The minister occupies the office during the call); used as A limited background area establishes status without adding unsupported decorative objects.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L52B01.png" ], [ "char:국방장관", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/ffc5438e-245f-4c11-99c0-fd09f298319e.png" ] ], "asset_id": "2ad5d662-783d-4274-ba3b-ad66e8b584da" }, "S43sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S43sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S44sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S44sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S45sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S45sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S45sh8.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L54B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the camper's rear seating area, lit by a single small lamp while rain darkens the windows.\n\nSHOT TEXT (authoritative, Korean): 앰버가 이현우를 향해 두 눈을 부릅뜨고 턱을 치켜든 항의하는 표정.\n\nCARRIED STATE (persist exactly): Heavy rain surrounds the moving camper; its headlights remain off while the small rear lamp stays on. The packed supplies remain aboard, and Charlie stays seated in the rear with the blanket. 앰버: She remains seated in the rear cabin as she argues about the destination.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the aisle approach at 앰버's seated eye height, remaining oblique to her line toward the driver and keeping her widened eyes and lifted chin large in the center-right. Leave looking room to the left, where only a narrow portion of 이현우's rear shoulder enters the foreground; his face remains beyond the edge as she protests toward him, while he remains committed to the road ahead. Use shallow depth of field and the final reduction in distance as the emphasis, without moving the camera onto her direct eyeline.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Rear seating area (Occupied by 앰버) — Seen from the aisle leading back from the front seats; used as Provides limited context behind her close-framed expression; Driver's seat edge (Occupied by 이현우) — A narrow rear edge is visible near the foreground shoulder; used as Anchors the driver's forward position without obstructing 앰버.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L54B03.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ] ], "asset_id": "3e08fc8e-7449-4d9c-a1f2-92f0872af317" }, "S45sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S46sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S46sh21": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S46sh21.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L57B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the group's makeshift eating spot inside the dusty abandoned library reading room, in faint nighttime ambient light.\n\nSHOT TEXT (authoritative, Korean): 앰버가 눈물 고인 눈으로 이현우를 향해 두 주먹을 불끈 쥐고 소리치는 격앙된 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): The library interior remains thick with dust and cobwebs, with disordered shelves; the UBIC book thrown aside is now on the floor, and canned food and luggage occupy the makeshift eating spot. Rain continues outside the parked, leaking camper, while Charlie remains nearby with his old body and blanket. 앰버: She has refused her canned food and is now tearful and angry.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the confrontation approach beside 이현우's shoulder at 앰버's seated eye height, preserving the established oblique angle and side of the dialogue axis. Her tear-filled face occupies the center-right, with both clenched fists entering the lower edge, while a thin, soft portion of 이현우's shoulder remains at the left foreground without masking her. 앰버 shouts toward his face just beyond that edge rather than the lens, and his seated body remains turned toward her with his attention lowered to her position.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Reading-room shelving (Disordered and dust-covered) — Only indistinct portions remain behind 앰버; used as Retains the abandoned-library context without competing with her face.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L57B02.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ] ], "asset_id": "3c9bba97-24b3-45b0-8fbe-9aab9b556d77" }, "S46sh26": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S47sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S47sh15": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S47sh15.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L58B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In a secluded outdoor corner beside the abandoned library, away from the others in the morning.\n\nSHOT TEXT (authoritative, Korean): 이현우가 일회용 핸드폰을 귓가에 바짝 댄 채 미간을 깊게 찌푸린 초조한 얼굴.\n\nCARRIED STATE (persist exactly): The crayon sea, colorful Haenam mural and handwritten message remain on the dusty library walls, and the old camper remains outside. Charlie has left the drawing area and is approaching the secluded corner. 이현우: He stands in a secluded library corner using the disposable phone, with the intact contact card now removed from his shoe. His facial bruising and untreated leg injury persist.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Following the explicit cut into the secluded corner, hold a direct observational close-up on the phone side of 이현우, oblique to his face and slightly above eye level with a gentle downward tilt. His three-quarter face occupies the central half, the disposable phone remains naturally sized beside his cheek, and a narrow strip of the library corner survives behind him. Capture his deeply knitted brow and raised shoulder as he presses the phone to his ear, listening intently while his eyes drop toward the floor below the frame; hold position and lighting steady.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Secluded library corner (Separated from the gathering elsewhere in the library) — The corner is seen obliquely behind his phone-side shoulder; used as A softly resolved spatial boundary reinforces the private call without adding furnishings; Disposable phone (Pressed tightly against his ear during the call) — Its outer edge is visible beside his cheek; the screen is not presented to the camera; used as Connects his facial tension to the ongoing conversation.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L58B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "ef232a1d-7546-491d-aa82-56013414b27b" }, "S47sh17": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S48sh15": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S48sh19": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S49sh12": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S49sh12.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L61B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the roadside fuel stop's shop, in the medicine aisle under daytime retail ambient light.\n\nSHOT TEXT (authoritative, Korean): 앰버, 라울, 찰리의 등 뒤로 조일광이 산탄총을 맹렬히 겨눈 채 한 발짝 내디딘 위압적인 구도.\n\nCARRIED STATE (persist exactly): The camper stands at the fuel pump with its luggage reloaded; its punctured tire and earlier leaks have not been repaired. Inside the mart, Charlie holds the medicine bottle taken from the shelf, and the television has been showing the wanted group. 조일광: He wears a Marine Corps cap, military uniform and medals, and holds a loaded shotgun at the ready. 앰버: She stands inside the mart near the medicine section, still wearing the replacement shoes. 라울: He stands inside the mart near the medicine section.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Slow the lateral track on the group's left, maintaining the low, oblique upward view along the store aisle as a direct observer behind the threatened group. Layer 앰버 at lower-left, 라울 near lower-center and 찰리 at the right foreground, leaving a gap through which 조일광's advancing body and shotgun remain visible in the middle distance; their backs face us as their attention lifts toward him. Capture distinct reactions—앰버 drawing her shoulders inward, 라울 turning his head toward the threat, and 찰리 arrested mid-turn—while 조일광, a man in his fifties wearing his military uniform and decorated Marine cap, plants his forward foot and sights down toward the group rather than the lens; his advance is the emphasized change.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Store aisle and merchandise displays (Still intact before the struggle) — Display sides recede along the same oblique aisle line as the camera; used as Establishes the shared space between the separated foreground silhouettes and the approaching gunman; Medicine section (Stocked, where 찰리 has been searching) — A limited portion of the displayed products is visible beside 찰리; used as Keeps the innocent purpose of the visit present at the edge of the confrontation; Shotgun (Aimed toward the group during 조일광's forward step) — Seen obliquely between foreground silhouettes, with its barrel directed toward the group rather than the camera; used as Creates a readable threat line without exaggerated muzzle perspective.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L61B02.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ], [ "char:라울", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/803003f4-e4e4-42b8-bed7-ae751165a95e.png" ] ], "asset_id": "1ad4b69b-2c21-4e57-8eb7-f3b615c1c0dc" }, "S49sh47": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S49sh50": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S49sh50.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L61B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the overturned camper's crushed cabin, looking through broken window glass under a flickering bulb.\n\nSHOT TEXT (authoritative, Korean): 깜빡이는 캠핑카 전구 불빛 아래, 깨진 유리창 밖으로 태진과 은영이 몸을 굽혀 안을 빤히 들여다보는 시선.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Hyunwoo is losing consciousness inside the overturned camper, his eyes partly open as he looks toward the women outside the broken window. His torso orientation, head support, arm and leg positions, and contact with the inverted interior are unspecified.\n\nCARRIED STATE (persist exactly): The crushed camper remains overturned, with broken windows, smoke inside and its interior bulb flickering weakly. Charlie remains unconscious with a damaged shoulder, while the wreck and its loose contents have not yet been recovered. 태진: She is outside the wreck, looking into its interior. 은영: She is outside the wreck, looking into its interior.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: After the explicit cut through the established window axis, complete the pan from a low interior position beside 이현우 and settle into an oblique upward view through the broken opening, not his subjective vision. Frame 태진 on the left and 은영 on the right from the waist upward as they bend outside: 태진 leans farther inward and 은영 peers over at a slightly different angle, both looking down toward 이현우 below the frame rather than into the lens. Keep narrow broken-window edges around them and the cabin bulb small near a frame edge, emphasizing the settled viewing direction; retain their real identities without the later substitution of 미연.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: Broken window opening separating cabin interior from the women outside in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: Broken camper window (Broken, with an open view outside) — Seen obliquely from the inverted cabin, with 태진 and 은영 visible beyond the opening; used as Thin foreground boundaries establish that the women are outside and the observer is inside; Cabin bulb (Still present inside the overturned cabin); used as A small physical continuity detail near the frame edge, not a foreground obstruction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L61B01.png" ], [ "char:태진", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/9b9a86ed-e054-4c63-b7d9-ca47ca7483e9.png" ] ], "asset_id": "8a130eca-30b5-4604-96b0-c14106773cbb" }, "S50sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S50sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L67B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At a makeshift bed in the dim storage-room section of an auto repair garage, with rock-band posters covering the walls.\n\nSHOT TEXT (authoritative, Korean): 록밴드 포스터가 가득 붙은 어두운 카센터 창고 안, 붕대가 감긴 다리로 침상에 걸터앉은 이현우가 두 눈을 번쩍 뜬 얼굴.\n\nCARRIED STATE (persist exactly): Rock-band posters cover the storage-room walls, a large pair of pliers lies within reach, and a large speaker stands in the repair area. The recovered camper is under repair with extensive engine and brake damage; Charlie's shoulder repair is established by the immediately following meal scene. 이현우: He has awakened in the storage room with his injured leg bandaged and visible signs of treatment elsewhere. He retains the contact card concealed in his shoe.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin from 이현우's front-left quarter above his seated eye line, looking diagonally down in a direct observational medium frame and briefly holding before the downward tilt. Place his newly opened eyes and tense face in the upper-left half, his torso pitched forward on the bed edge, and his bandaged leg across the lower portion, with fragments of rock-band posters visible behind him. His gaze lifts past the camera toward the unfamiliar ceiling above the frame, not toward the lens; hold this entry composition still before following his attention down to the treated leg.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Rock-band posters (Attached throughout the room) — Printed faces are visible in partial, oblique views behind 이현우; no specific band names are introduced; used as Establishes the unfamiliar room through surrounding graphic fragments rather than a separate establishing shot; Bed (Occupied at its edge by 이현우) — The near edge and a limited portion of its upper surface are visible beneath him; used as Anchors his newly raised seated posture and supports the lower-frame leg placement; Leg bandage (Wrapped around his treated leg) — Visible around the leg in the lower portion of the frame; used as Provides immediate evidence of treatment while the face remains the primary focus.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L67B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "83e4520d-3f4d-46c2-a71b-50ed5b1d7432" }, "S50sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S50sh8.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L67B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the damaged camper's engine service point inside the auto repair garage, in daytime workshop ambient light.\n\nSHOT TEXT (authoritative, Korean): 태진이 캠핑카의 엔진 투입구 안으로 검은색 용액을 콸콸 쏟아 붓는 힘이 실린 자세.\n\nCARRIED STATE (persist exactly): The camper remains under repair with extensive engine and brake damage; repair solution is being poured into its inlet. Rock-band posters remain on the storage-room walls, and the large pliers have not been established as picked up. 태진: She stands at the camper holding and tipping the bottle of repair solution.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From 태진's working side, hold the middle of the crane rise in a downward three-quarter view, framing her torso on the left and the camper's engine opening at lower right. Her elbows drive forward as she tips the bottle, her lowered gaze following the black solution into the opening; keep both forearms and the continuous pour readable. Maintain the established working-side axis, with the vehicle section occupying less than two-fifths of the frame rather than overwhelming her physical effort.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Camp​er engine opening (Receiving the repair solution) — The accessible opening is seen obliquely from above beside 태진's forearms; used as Anchors the destination of the pour at lower right; Repair-solution bottle (Tilted with black solution pouring out) — Its mouth points downward toward the vehicle opening; used as Connects her physical effort to the stream without obscuring her hands.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L67B01.png" ], [ "char:태진", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/9b9a86ed-e054-4c63-b7d9-ca47ca7483e9.png" ] ], "asset_id": "7f8dfef6-34cc-4edc-9807-541725a38394" }, "S50sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S51sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S51sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L69B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Just inside the entrance to a container canteen beside the auto repair garage, with daylight entering through the open door.\n\nSHOT TEXT (authoritative, Korean): 앰버가 이현우의 허리를 두 팔로 와락 껴안은 구도.\n\nCARRIED STATE (persist exactly): Bowls of rice soup remain in the makeshift container dining area beside the car center. Charlie has been repaired and can rotate the previously injured arm without the earlier shoulder sparks. 이현우: He has entered the dining area with his leg bandaged and visible treatment marks still present. His contact card remains concealed in his shoe. 앰버: She has risen from her meal and rushed forward with her arms extended in an embrace.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Ease the lateral track to a stop beside the entrance at 앰버's shoulder height, keeping an oblique angle to the embrace rather than moving onto either person's frontal axis. Place 앰버 at lower left and 이현우 at center-right, framing both of her arms closing around his waist and his upper body above her; separate the forearms in depth so their shared point of contact remains legible. Her face angles upward toward him as her momentum settles into the hug, while he looks down toward her with his shoulders still held in surprise.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Dining-space entrance door (Open following 이현우's entrance) — The open doorway is seen obliquely behind the pair; used as Locates the interrupted arrival without boxing the embrace into a frontal tableau; Container dining-space interior (In use as a temporary dining area) — The interior recedes to the side of the entrance; used as Leaves a small area of spatial context around the intimate two-person frame.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L69B01.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "1823ba43-81fe-4b4c-a268-f10ad30775fb" }, "S51sh19": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S51sh23": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S52sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S53sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S53sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S54sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S54sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S55sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S55sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the camper's rear seating area while traveling along a provincial road, with post-shower daylight through the side windows.\n\nSHOT TEXT (authoritative, Korean): 낡은 캠핑카 뒷좌석에서 앰버와 라울이 젖은 머리카락을 한 채 창밖을 내다보는 찰나.\n\nCARRIED STATE (persist exactly): The repaired camper carries the luggage, food and medicine supplied at the car center. A rain shower has just passed. 앰버: She rides in the camper looking outside, with wet hair and clothing and an exhausted appearance. 라울: He rides in the camper looking outside, soaked and tired, with his earlier injury treated.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin nearly still behind the rear seats, offset toward the aisle and slightly above seated head height, looking diagonally downward in a medium two-shot. 앰버 occupies the left middle ground with her neck extended toward the side window, while 라울 sits farther right with one shoulder turned toward his window; their wet hair and differently slumped shoulders register exhaustion as both search for 찰리 outside the frame. Keep the aisle visible along the lower edge to establish the subsequent forward track rather than introducing a separate viewing axis.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Rear seats (Occupied by the exhausted passengers inside the old camper) — Seat backs appear obliquely beneath the passengers; used as Low foreground boundary establishing the camera behind the passengers; Side windows (Passengers search outside through them) — Seen obliquely from the aisle, with the roadside visible beyond; used as Carry the passengers' outward attention without becoming a reflected view; Camper aisle (Connects the rear seating area to the driving position) — Recedes from the lower frame toward the front of the camper; used as Establishes the continuing camera route.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ], [ "char:라울", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/803003f4-e4e4-42b8-bed7-ae751165a95e.png" ] ], "asset_id": "45256585-5451-4c0b-85a7-77766ce17dca" }, "S55sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S55sh6.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the camper's compact driving cab, with the steering wheel and controls close to the driver's seat and daylight through the windshield.\n\nSHOT TEXT (authoritative, Korean): 이현우가 운전대를 두 손으로 꽉 쥔 채 옆으로 거칠게 꺾은 상태로 멈춘 mid-action 구도.\n\nCARRIED STATE (persist exactly): The camper still carries the luggage, food and medicine as it turns toward the forest after the rain shower. 이현우: He remains at the wheel, wet and exhausted, with his treated leg bandaged. The contact card remains concealed in his shoe.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the aisle approach beside the passenger side of the driver's seat, above 이현우's seated shoulder and looking downward from a rear three-quarter angle. Place his turning upper body in the left half and both gripping hands around the sharply turned wheel in the lower center, with the wheel occupying less than a quarter of the image; his head turns toward the intended route outside the frame, not toward his hands. Let the reduced camera distance carry the emphasis while preserving the interior's oblique viewing grammar, then cut explicitly to the later mountain-road journey rather than implying an immediate wheel impact.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Steering wheel (Sharply turned and tightly gripped with both hands) — Its driver-facing surface is seen obliquely from above and behind; used as Makes the decisive change of direction legible beside his torso; Driver's seat (Occupied by 이현우 during the turn) — A partial rear and passenger-side view borders his body; used as Maintains scale and continuity with the aisle approach.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "82dd5d30-9a19-4c6d-9ec0-7b3e84888347" }, "S55sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S56sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S56sh20": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S56sh20.png", "plate_path": null, "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the bottom of an open-topped trap pit in the marshland forest, looking up toward armed figures at its rim.\n\nSHOT TEXT (authoritative, Korean): 구덩이 아래에서 올려다본 하늘을 배경으로, 형형색색의 하회탈 가죽 마스크를 쓴 아시아계 무장 괴한 여럿이 창과 활을 든 채 내려다보는 위압적인 구도.\n\nCARRIED STATE (persist exactly): The camper remains trapped in the marsh, and an arrow remains embedded in a tree at the forest capture site beside the open pit trap. Charlie has already been captured in the net elsewhere in the forest.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold a neutral observer position near the pit floor, behind and to one side of the captives but angled steeply upward so neither captive enters the image. Frame the Asian armed men obliquely around the upper-left and upper-right rim, with sky between them and long spears and bows breaking inward from the edges; their attention converges on the captives below and beside the lens, never on the lens itself. Differentiate their downward lean, shoulder rotation, grip height, and spacing so the colorful Hahoe-style leather masks form an oppressive enclosure rather than a frontal lineup.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Pit walls and rim (Enclose the trapped captives below the armed men) — Interior walls rise along the frame edges toward the opening overhead; used as Creates an enclosing frame and establishes the men above the camera; Spears and bows (Held by the men watching the captives) — Weapon shafts and bow profiles enter at differing angles from the rim; used as Interrupt the sky without forming a mechanically repeated pattern; Sky above the pit (Visible through the opening between the men); used as Central negative space emphasizing the captives' confinement.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [], "asset_id": "045169e4-516e-4bb6-8a52-de69de8240d5" }, "S56sh22": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S57sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S57sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L77B01.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Along the village street outside a prisoner cage carried on a truck, amid a crowd carrying spears and clubs.\n\nSHOT TEXT (authoritative, Korean): 철창 밖으로 창과 몽둥이를 치켜든 하회탈 마스크의 아시아계 군중이 입을 크게 벌려 함성을 지르는 역동적인 전경.\n\nCARRIED STATE (persist exactly): A barred cage is mounted on the moving truck, and a tall water-tank tower stands in the village. Water bottles are being distributed along the route.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From inside the moving cage, begin the outward scan above the truck bed and just behind the side bars, looking obliquely and slightly downward at the nearest Asian masked crowd. Hold the pan on their upper bodies across the center and lower frame, with bars confined to the extreme edges and raised spears and clubs reaching into the upper third; the crowd shouts toward the captives inside the cage, off-axis from the lens. Stagger the phases of their raised arms, forward leans, and shouting mouths wherever the masks permit visibility, keeping the water distribution and distant tower outside this initial view.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Cage side bars (Confine 이현우 and 앰버 on the moving truck) — Seen from inside, narrowly bordering the outward view; used as Edge framing that establishes confinement without obscuring crowd gestures; Raised spears and clubs (Held aloft by the shouting crowd) — Different shaft angles and grip heights interrupt the upper frame; used as Extend the crowd's asynchronous threatening movement above their heads.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L77B01.png" ] ], "asset_id": "8a7d8f3c-a885-4e37-b8d7-1871e803ac45" }, "S57sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S57sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S58sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S58sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L78B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the raised dais inside the ruined village church, at a large ceremonial chair beneath daylight filtering through stained glass.\n\nSHOT TEXT (authoritative, Korean): 황금빛 하회탈 마스크를 쓴 장백산이 화려한 단상 위 거대한 의자에 육중한 몸을 깊숙이 기대앉은 위압적인 전신.\n\nCARRIED STATE (persist exactly): Light enters the ruined church through surviving stained glass, and the masked Jesus statue remains outside. Charlie is already confined in the steel cage that will shortly be brought into the church, with no release yet established. 장백산: He sits on the dais wearing an intact golden Hahoe mask and kinglike clothing over his massive body. Severe radiation damage already exists beneath the mask, but his face remains concealed.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Ease the forward dolly into a stable low three-quarter view from beside the off-frame kneeling captives, far enough from the dais to retain 장백산's entire seated body from masked head to feet. Place him just right of center, settling his heavy torso deeply into the enormous chair, with the chair occupying about a third of the image and the ornate dais extending laterally beneath it; his masked head angles toward the captives below and off-screen rather than toward the lens. Let the final backward settling of his body provide the sole accent within the held authority composition, leaving the prophet outside this frame.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Enormous chair (Occupied by 장백산 as he settles back) — Front and one side are visible from the low oblique camera position; used as Frames his full seated body while maintaining realistic scale; Ornate dais (Supports the chair above the kneeling captives' level) — Front edge and upper surface recede diagonally beneath the chair; used as Establishes the physical elevation underlying his authority; Ruined church interior (Damaged interior surrounding the dais) — Background architecture remains visible around the seated figure; used as Contrasts the ceremonial seating with the damaged setting.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L78B02.png" ], [ "char:장백산", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/45620bd2-8028-4cf2-ae6f-e13d0176a950.png" ] ], "asset_id": "15eb3a03-dd7f-4b94-a5dd-1d2856db0275" }, "S58sh15": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S58sh27": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S59sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S59sh8.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L79B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the damp corner of a village underground prison cell, beside wet straw and pooled water in faint light from the prison's small window.\n\nSHOT TEXT (authoritative, Korean): 수빈이 젖은 건초 더미를 앰버의 코앞에 바짝 가져다 댄 손끝.\n\nCARRIED STATE (persist exactly): The underground cell remains shut behind rigid iron bars, with hay and pooled water on its floor. 수빈: She has facial wounds and accumulated grime, and holds a handful of water-soaked hay. Radiation-damaged skin on her abdomen is already present beneath her T-shirt. 앰버: She is confined in the cell, with her severe coughing beginning to settle into steadier breathing.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Settle the direct-observer track beside 앰버, just below her nose height and oblique to her face, keeping 수빈's fingertips sharp in the lower-left foreground and 앰버's nose, mouth, and lowered eyes immediately beyond them at right. 수빈's hand enters from the left with the wet hay occupying less than a quarter of the image; her face stays outside the crop as she carefully finishes the placement, while 앰버 attends downward to the hay and her mouth relaxes between breaths. Let the hand's final advance be the only emphasized change, retaining shallow focus, distance, and the established dialogue side without depicting visible breath vapor.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: Wet hay held just beneath 앰버's nose, not covering her face in the lower-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 물에 적신 건초 (Held in 수빈's fingertips immediately beneath 앰버's nose); used as A compact foreground detail linking the helping hand to 앰버's recovering breath; 감옥 내부 (The characters remain confined inside); used as A soft peripheral margin keeps the hand detail within the present-day cell.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L79B01.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ], [ "char:수빈", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/5604abf2-a0ab-453d-8a74-11f7412df02c.png" ] ], "asset_id": "5c645fc6-5658-4006-bf81-501a214760ad" }, "S59sh24": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S59sh48": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S60sh75": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S60sh104": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S60sh104.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L87B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the soaked ground beside the collapsed village water tower in the evening light.\n\nSHOT TEXT (authoritative, Korean): 부서진 가면 너머로 피부가 붉게 짓무르고 흉측하게 녹아내린 장백산의 끔찍한 얼굴이 드러난 클로즈업.\n\nCARRIED STATE (persist exactly): The water tower has been severed and collapsed, releasing a large volume of water across the ground. Charlie remains battered and B-200 retains his gun arms; the ruined arena and its combat damage remain nearby in sunset light. 장백산: He is soaked, with his golden mask half broken and his radiation-disfigured face exposed. His regal clothing has not yet been stripped away.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the direct-observer dolly from the guards' side, holding a three-quarter angle and a slight downward tilt toward 장백산's partially raised face. His exposed, reddened radiation damage occupies the central facial area, the broken golden mask remains along one side, and his soaked shoulders and rising fingertips stay at the lower boundary before his hands can conceal the revelation. His eyes search the guards beyond the left edge rather than the lens; emphasize the closing distance alone so the collapse of authority comes from exposure, not a new angle or lighting cue.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 황금 하회탈 (Half broken, leaving the radiation-damaged face exposed) — The remaining outer mask face is seen obliquely beside the uncovered skin; used as Keeps the evidence of concealed authority adjacent to the face; the fragment occupies only a small part of the image; 장백산의 옷 (Soaked after the water tank collapse) — Only the shoulder and upper chest portions appear at the lower edge; used as Retains the immediate physical aftermath without widening away from the revelation.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L87B03.png" ], [ "char:장백산", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/45620bd2-8028-4cf2-ae6f-e13d0176a950.png" ] ], "asset_id": "06f56e22-4eae-4819-a3d5-24a510ac0b12" }, "S60sh129": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S60sh129.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L87B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On a ridge overlooking the damaged village, with the setting sun ahead of the seated companions.\n\nSHOT TEXT (authoritative, Korean): 지는 해를 바라보며 찰리와 이현우가 손을 맞잡은 채 어깨를 나란히 한 감동적인 후면 실루엣.\n\nCARRIED STATE (persist exactly): Charlie sits on the ridge with holes and dents in his body and malfunctioning sensors; B-200's gun arms remain intact. The devastated village and collapsed water tower remain below in the fading sunset. 이현우: He sits on the ridge, visibly battered and wounded, with one hand extended in a clasp.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the withdrawal behind the seated pair at their shoulder height, slightly offset from their shared rear axis, observing directly past their adjacent shoulders toward the setting sun. Place 이현우 left and 찰리 right in the lower middle, their complete seated silhouettes surrounded by the ridge and sky, with their joined hands resting visibly in the small gap between their hips rather than hidden in front of their bodies. Both settle their weight toward one another while looking to the distant sunset; emphasize increasing camera distance alone, holding the rear angle and their quiet contact unchanged.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 능선 (찰리 and 이현우 sit together after escaping the village) — The ridge extends beneath their seated bodies across the lower frame; used as A shared supporting plane anchors the pair while the withdrawal opens space around them; 지는 해와 하늘 (The sun is setting beyond the ridge); used as Provides the distant destination of both eyelines and the open background behind their silhouettes.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L87B02.png" ], [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/56ee7ae1-68b3-4ca9-bf60-2340783e6b9b.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "05004506-85e2-4264-9110-26dfd49074e4" }, "S61sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S61sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_swamp_mud_clearing_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the nighttime marsh clearing beside the abandoned camper stuck in mud.\n\nSHOT TEXT (authoritative, Korean): 어두운 늪지대, 박철진이 방치된 낡은 캠핑카의 녹슨 차체를 한 손으로 짚고 선 전신.\n\nCARRIED STATE (persist exactly): The abandoned camper remains stuck in the swamp where it was left. A no-entry sign and a corroded, barely legible radiation warning remain nearby under the night sky. 박철진: He is beside the abandoned camper, inspecting it.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Enter the tracking stage with a held direct-observer view from beside the vehicle, slightly below 박철진's eye level and at a three-quarter angle, wide enough to include his full body at left and the camper's near side within the right third. 박철진 rests one palm on the rusty bodywork with his weight angled toward it, attending to the vehicle rather than the lens. Nearby militia members inspect that same vehicle with differently bent elbows, uneven weight shifts, and varied downward head angles, avoiding a row of identical poses while leaving the diagonal approach toward 박철진 unobstructed.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 낡은 캠핑카 (Left in the swamp with rusty bodywork; being touched and inspected) — Its near side recedes obliquely from 박철진 toward the inspecting militia; used as Connects the searchers through a shared physical object while remaining within roughly a third of the frame; 늪지대 (The abandoned vehicle and search party are located here); used as Surrounding negative space establishes the isolated search location without adding weather or surface effects.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_swamp_mud_clearing_sel.png" ], [ "char:박철진", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/f3f8230b-dae8-4b22-af1e-4b6311414b25.png" ] ], "asset_id": "8128b673-2497-4d1c-b053-db42f874a9cf" }, "S61sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S62sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S62sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S62sh15": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S62sh15.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Beside the old truck in the village's outdoor communal lot in daylight.\n\nSHOT TEXT (authoritative, Korean): 이현우가 수빈을 향해 한쪽 눈을 질끈 감고 윙크를 한 채 미소 짓는 여유로운 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): The old truck remains in the courtyard under repair, and the old football remains in use nearby. Charlie's holes, dents and faulty sensors persist without a completed repair. 이현우: He stands in the courtyard, still carrying the wounds from the fighting.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the established approach from beside 수빈's shoulder, keeping the lens at her shoulder height and slightly below 이현우's eyes, oblique to his face-to-수빈 axis. Frame 이현우's face center-right with a little space toward 수빈 beyond the left edge, catching his smile and one tightly closed eye while his open eye remains directed at her off-screen face rather than the lens. Make reduced camera distance the sole accent of this endpoint, letting 수빈 fall outside the close framing without changing the conversation axis.\n- FRAMING SCALE: close-up\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "aae6607a-a0d6-487c-b5ef-e6f254ddfe25" }, "S63sh7": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S63sh7.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the truck's compact front cab, at the passenger seat beside the driver with daylight through the windshield.\n\nSHOT TEXT (authoritative, Korean): 수빈이 이현우를 향해 두 눈을 번쩍 치켜뜬 채 목에 핏대를 세우고 입을 크게 벌려 고함치는 분노의 표정.\n\nCARRIED STATE (persist exactly): The old truck is now operational and traveling along the road in daylight. 수빈: She occupies the passenger seat. Her facial wounds and radiation-damaged abdominal skin remain.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold the camera in the gap between the seats, just behind 이현우's inner shoulder at 수빈's seated eye height, looking obliquely across the cab. Keep his shoulder as a thin, soft strip at the extreme left edge while 수빈's face and tense neck occupy the center-right, her seated torso turning toward his off-screen face as she shouts with raised eyes and an open mouth. Preserve the static distance and cabin lighting so her changed eyeline carries the confrontation; 이현우's cropped driving posture remains oriented toward the road.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Truck seats (Occupied by the driver and passenger) — The inner seat edges flank the camera's oblique view across the cab; used as Retain enough cabin context to establish the compressed distance between the two occupants.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:수빈", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/5604abf2-a0ab-453d-8a74-11f7412df02c.png" ] ], "asset_id": "1a5ee504-77ee-4e5c-8b18-7b726535c8f5" }, "S63sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S63sh14": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S63sh14.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the wheel inside the truck's compact cab, with strong sunlight entering directly through the front windshield.\n\nSHOT TEXT (authoritative, Korean): 앞창문으로 쏟아지는 햇살을 받은 이현우가 입술을 꽉 깨물고 결연한 눈빛으로 앞을 쏘아보는 굳은 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): The operational old truck continues along the road in daylight, with sunlight entering the cab. 이현우: He remains in the driver's seat, still bearing the injuries from the village fighting.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Return to the established central-dashboard position on 이현우's passenger side, then finish the inward dolly slightly below his seated eye line in a tight three-quarter view. Place his face left of center with a narrow margin toward the windshield on the right, catching his tightly bitten lip and rigid jaw as he fixes his attention on the road beyond the frame, past rather than into the lens. Emphasize only the closing distance after the return, keeping 수빈 outside the crop and maintaining the forward driving axis.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Truck windshield (Ahead of the driver) — A narrow oblique portion at the forward edge of the composition leaves the exterior unresolved; used as Marks the direction of travel and provides a small margin in front of his gaze.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "44f7217d-f4d0-4cab-85c0-9aa7630c871e" }, "S64sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S64sh18": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S64sh27": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S65sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S65sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L100B01.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the moss-covered outdoor approach to a partially collapsed department store, among puddles and overgrown vegetation.\n\nSHOT TEXT (authoritative, Korean): 수빈의 손에 들린 방사능 측정기의 바늘이 숫자 0을 정확히 가리키며 멈춘 액정 클로즈업.\n\nCARRIED STATE (persist exactly): The half-collapsed department store is covered in moss and uncontrolled vegetation, with standing pools among the ruins. The radiation meter reads close to zero, not necessarily exactly zero.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold beside 수빈's forearm, close and slightly above the radiation meter, looking obliquely downward so its display remains readable without becoming a subjective device view. Position the meter near the center at roughly a third of the image, with part of her supporting hand below it and softly resolved moss-covered ground surrounding the detail. Catch the needle settled at zero before she taps the instrument; her face stays outside the crop as her attention remains lowered toward the reading.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Radiation meter display (Needle settled at the zero reading before the instrument is tapped) — The numbered display face is angled upward toward the lens, with zero and the needle clearly visible; used as Primary detail focus, retaining the hand and surrounding ground rather than isolating an oversized instrument; Moss-covered ground (Broadly covered with moss near the collapsed department store); used as Soft surrounding context and an early visual connection between the meter reading and the recovering environment.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L100B01.png" ] ], "asset_id": "a0f440c3-1ec2-45c0-8807-28f0c17b2ac9" }, "S65sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S65sh17": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S65sh17.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L100B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On elevated rubble outside the collapsed department store, overlooking the breach through which the visitors enter.\n\nSHOT TEXT (authoritative, Korean): 높은 잔해 위 어둠 속, 우뚝 선 아시아계 남성의 짙은 실루엣 뒷모습 너머로 아래쪽의 이현우와 수빈이 백화점 틈새 안으로 몸이 반쯤 가려진 조감 구도.\n\nCARRIED STATE (persist exactly): The moss-covered, half-collapsed department store has an accessible gap through its ruins, with pools and vegetation around it. The discarded gas mask lies outside, and the radiation meter's established reading remains close to zero. 이현우: He enters the ruined building with his face uncovered and a flashlight carried for the dark interior. His existing injuries persist. 수빈: She enters with her gas mask removed and discarded, retaining the radiation meter and a prepared flashlight. Her facial wounds and radiation-damaged abdominal skin remain.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Make the prescribed cut to an elevated position behind and slightly beside the Asian male observer, holding just above his shoulder with a steep downward tilt. His watchful, dark back occupies the left foreground, his head inclined toward 이현우 and 수빈 at lower right, where the department-store opening conceals approximately half of each body without his shoulder blocking either figure. Show 이현우 transferring weight into the opening while 수빈 follows at a different stride phase, both attending to the passage ahead; the principal emphasis is the newly revealed foreground observer.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Department-store opening concealing the entering pair in the lower-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: Department-store opening (Open passage through the collapsed structure) — Viewed obliquely from above; its near edge conceals the entering pair's lower bodies; used as Lower-right destination and shared depth anchor linking the observer to the pair; Elevated collapsed remains (Collapsed) — The upper surface supports the observer in the foreground; used as Establishes the observer's physical elevation without an exaggerated foreground mass.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L100B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ], [ "char:수빈", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/5604abf2-a0ab-453d-8a74-11f7412df02c.png" ] ], "asset_id": "c606afa2-ca2e-490c-88a0-db4e0d779212" }, "S66sh9": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S66sh9.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L101B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the collapsing floor edge near a descending escalator inside the ruined department store, lit by the explorers' flashlights.\n\nSHOT TEXT (authoritative, Korean): 구멍 가장자리로 몸을 날려 엎드린 수빈이 허공에 매달린 이현우의 손목을 두 손으로 빈틈없이 꽉 틀어쥔 타격감 있는 클로즈업.\n\nCARRIED STATE (persist exactly): A newly opened sinkhole breaks the unstable floor near the barely accessible descending escalator. The dust-cleared directory identifies the food sections from basement level one through the third floor. 이현우: He hangs over the new opening, unmasked and still bearing his earlier injuries. His flashlight remains in his possession, without a specified grip during the fall. 수빈: She braces at the opening with her arms extended, her face uncovered. She retains her flashlight and radiation meter, along with her existing facial and abdominal skin damage.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Stay just above the upper floor beside 수빈's extended arms, looking obliquely downward over the opening with restrained handheld instability. Her two hands locking around 이현우's single wrist form the central focal point, while her prone shoulder and downward-focused profile enter from upper left and his suspended shoulder and upturned face remain partly visible below right. Preserve the floor edge between their body levels so his upward effort and her downward concentration read as one physically connected struggle, emphasizing the compressed camera distance.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Newly broken floor edge (Broken open above the lower floor) — The upper surface beneath 수빈 and the exposed edge above 이현우 are both visible; used as A narrow diagonal divider establishes the load-bearing edge and the difference in body levels; Opening beneath the hands (Open after the sudden floor collapse) — Seen downward from beside the rim; used as Negative space below the wrist conveys the unsupported drop.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L101B02.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ], [ "char:수빈", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/5604abf2-a0ab-453d-8a74-11f7412df02c.png" ] ], "asset_id": "2eb97da9-f2ec-49fc-b344-a9e2342f515e" }, "S66sh31": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S66sh40": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S67sh53": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S67sh53.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: In the village's outdoor residential gathering area at night, illuminated by military vehicle headlights.\n\nSHOT TEXT (authoritative, Korean): 박철진이 이현우의 관자놀이에 권총 총구를 바짝 들이민 매서운 찰나.\n\nCARRIED STATE (persist exactly): Military headlights illuminate the occupied village under a bright full moon; the dump truck's rear door has been opened for the militia deployment. Charlie's dented, perforated body and faulty chest ring persist, while B-200 still has both gun arms and the baby birds have been released. 박철진: He stands in the village holding a raised pistol at head height. 이현우: He has been brought out as a captive and remains visibly injured from the earlier fighting.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the dolly-in on the villagers' side, slightly above 이현우's eyes and oblique to his face, easing to a stop with only the permitted lateral correction. Frame 이현우's tense face at center-right and 박철진's angled face and extended gun arm at left, keeping the pistol's side and its contact with the temple clearly visible between the hand and head without aiming its barrel toward the viewer. 박철진 directs his threat toward 찰리 beyond the frame, while 이현우 also watches that off-screen confrontation; camera distance is the emphasized change.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Pistol (Muzzle pressed against 이현우's temple) — The side of the weapon is visible, with the muzzle directed into the temple rather than toward the camera; used as Small central threat detail held in the same readable plane as the face and gripping hand.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:박철진", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/f3f8230b-dae8-4b22-af1e-4b6311414b25.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "e4863aa4-a19a-4359-a3bb-20eee163d6d3" }, "S67sh75": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S67sh75.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_village_bonfire_clearing_sel.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the village departure road among overturned militia trucks, where the robot detonates amid the pursuing troops at night.\n\nSHOT TEXT (authoritative, Korean): B-200이 민병대원들 한가운데서 거대한 폭발 화염에 휩싸이며 산산조각 나는 파괴적인 순간.\n\nCARRIED STATE (persist exactly): Several militia trucks are overturned, including the transport with its cage opened, and Charlie's heavy restraints have been broken. B-200's torso is already broken and his gun hand destroyed as he self-destructs; Charlie retains fresh bullet damage over his earlier dents and holes, while a military helicopter's searchlight remains overhead.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Reach the elevated, withdrawn endpoint of the crane path and look obliquely down along B-200's charge, preserving 찰리 as a small rear three-quarter figure at the lower-left edge reaching toward the blast. Catch B-200 breaking apart inside the central explosion among the militia, whose interrupted pursuit retains different stride phases, torso angles, and uneven intervals rather than synchronized poses. Keep overturned trucks at the periphery as scale references, emphasize the expanded camera distance, and reserve the approach to the aftermath for a separate cut after the smoke begins to clear.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Explosion and mechanical fragments (Expanding as B-200 self-detonates); used as Central destructive event with visible surrounding space and figure-scale references; Overturned trucks (Overturned during the preceding attack) — Oblique side and underside views remain at the margins; used as Peripheral mechanical scale references; no single truck occupies more than a minor portion of the frame.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_village_bonfire_clearing_sel.png" ] ], "asset_id": "ace14fda-75de-421d-af01-673e36b7d4c1" }, "S67sh80": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S68sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S68sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S68sh16": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S68sh16.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_food_transport_fork_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Across an imagined field of purple violets leading toward a distant coastal research building in daylight.\n\nSHOT TEXT (authoritative, Korean): 보라색 제비꽃이 만발한 들판 너머 낡은 연구소 건물을 향해 다리를 뻗고 질주 중인 지소영, 찰리, B-200의 mid-action 뒷모습.\n\nCARRIED STATE (persist exactly): Purple violets fill the field, with the Haenam research laboratory visible beyond them in daylight. A gentle spring breeze moves the flowers. 지소영: She appears as her younger self within the imagined Haenam scene, running toward the laboratory with one hand extended. 찰리: He appears whole and mobile within the imagined flower field, running toward the laboratory. B-200: He appears whole and mobile within the imagined scene, running toward the laboratory.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Within 찰리's dream, track steadily behind and to one side of the runners at his waist height, looking gently upward while retaining all three figures head to foot. 지소영 and 찰리 run hand in hand across the middle-left, absorbed in reaching the laboratory, while B-200 follows on the right; their extended strides fall at different phases rather than forming a synchronized line. Preserve the established rear-oblique axis and emphasize only their advancing positions, leaving the distant laboratory unobstructed above the violet field.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Distant laboratory, unobstructed by runners in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: Violet field (Purple violets bloom throughout and move in the spring breeze); used as Provides foreground depth and a continuous route beneath the running figures; 지동현's Haenam laboratory (An old building visible in the distance beyond the flowers) — The building is seen obliquely beyond the runners; used as An unobstructed destination that gives their movement purpose.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_food_transport_fork_sel.png" ], [ "char:지소영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/b6020437-f703-4170-b3de-e66f460b8280.png" ], [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/56ee7ae1-68b3-4ca9-bf60-2340783e6b9b.png" ] ], "asset_id": "f6f6ef3d-619a-4f6f-b87c-f23dbde5392b" }, "S69sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S69sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_coastal_hill_overlook_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the open cargo bed of a truck parked in the shade of a rocky outcrop, beneath a movable shade cloth.\n\nSHOT TEXT (authoritative, Korean): 트럭 짐칸 구석에서 이현우, 앰버, 라울이 머리를 맞대고 깊이 잠든 평온한 구도.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Hyunwoo is asleep in the truck's cargo bed with his head gathered together with Amber's and Raul's beneath the shade. His exact torso orientation, head support, arm and leg positions, and contact with the cargo-bed floor are unspecified.\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Amber is asleep in the truck's cargo bed with her head gathered together with Hyunwoo's and Raul's beneath the shade. Her exact torso orientation, head support, arm and leg positions, and contact with the cargo-bed floor are unspecified.\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Raul is asleep in the truck's cargo bed with his head gathered together with Hyunwoo's and Amber's beneath the shade. His exact torso orientation, head support, arm and leg positions, and contact with the cargo-bed floor are unspecified.\n\nCARRIED STATE (persist exactly): The old open-topped truck is parked in the shade of rocks. A movable shade cover is present over the cargo-bed resting area. 이현우: He is asleep in the rear cargo bed, with his head toward the center of the sleeping cluster. His accumulated injuries remain, including the treated, bandaged leg. 앰버: She is asleep in the rear cargo bed, with her head toward the center of the sleeping cluster. Her recent head injury remains untreated on the page. 라울: He is asleep in the rear cargo bed, with his head toward the center of the sleeping cluster.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From outside the truck bed, continue the restrained lateral track at a high oblique angle into the corner where 이현우, 앰버, and 라울 sleep with their heads together. Frame their heads and upper bodies as an irregular cluster across the center, with 이현우 at the left, 앰버 lower-center, and 라울 to the right; differing cheek angles and shoulder folds distinguish their resting poses. All three have closed eyes and are absorbed in sleep, while the bed edge leads toward the camera's subsequent move toward 찰리.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Truck-bed corner (Occupied by the three sleeping companions in the parked truck) — The inner corner is visible diagonally from above the outer side; used as Encloses the sleeping cluster without arranging the bodies into a formal row; Truck-bed edge (Visible along the near margin) — Its inner face recedes diagonally toward the sleepers; used as A narrow foreground boundary and continuity line for the lateral track.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_coastal_hill_overlook_sel.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ] ], "asset_id": "772d313a-cec1-42dd-9d7c-7d2e9bd4f9bc" }, "S69sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S70sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S70sh8.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the bedside near the doorway of a military hospital patient room, under nighttime hospital lighting.\n\nSHOT TEXT (authoritative, Korean): 국방장관이 병상 위의 박철진을 외면한 채 복도 쪽으로 고개를 확 돌린 매몰찬 찰나.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Cheoljin is reclining on a hospital bed, severely injured, with one eye covered and an arm and a leg immobilized in casts; his uncovered eye looks upward. His exact head support, torso inclination, limb placement, and the sides of the covered eye and cast limbs are unspecified.\n\nCARRIED STATE (persist exactly): A military-hospital patient room opens onto the corridor. 국방장관: He is leaving the bedside for the corridor.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold the bedside camera beside 박철진's shoulder, looking slightly upward at 국방장관 from the established oblique angle, with the minister's upper body center-right and the patient's face and cast edge low on the left. Make the minister's sharply redirected gaze the sole emphasized change: his head turns toward the corridor beyond the right-hand doorway while 박철진 remains reclined, looking up toward him with his uncovered eye. The static frame lets the minister withdraw his attention without granting his departure a following camera.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Hospital bed (Occupied by 박철진 during treatment) — Viewed along its side from beside the patient's shoulder; used as Anchors the patient low in the frame beneath the minister; Ward doorway and corridor (The passage toward the corridor is visible) — Seen obliquely to the right of the minister; used as Gives the minister's averted attention a concrete exit direction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:국방장관", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/ffc5438e-245f-4c11-99c0-fd09f298319e.png" ] ], "asset_id": "b32800d2-82f1-4492-ba48-7cb92e1273ba" }, "S70sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S71sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S71sh13": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S71sh13.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On an open roadside hill overlooking coastal ridges, beside the parked truck during the search for a violet field.\n\nSHOT TEXT (authoritative, Korean): 앰버가 찰리를 올려다보며 눈가에 눈물이 맺힌 애절하고 슬픈 표정 클로즈업.\n\nCARRIED STATE (persist exactly): The daylight hillside overlooks ridges and glittering seawater, with no violets visible here. The flower sketch remains on the reverse of its sheet. 앰버: She is at the dirt-play spot on the hillside, visibly tearful, and retains the received drawing. Her earlier head injury remains.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Continue the measured approach from just behind and outside 찰리's shoulder, slightly above 앰버's eyes and angled down toward her three-quarter face. Keep his shoulder as a thin, soft strip at the extreme left while her face occupies the center-right; she lifts her tearful eyes toward 찰리's face above that edge, distinctly away from the lens. Hold their positions and emphasize only the closing distance, catching 앰버 seated with her chin raised and 찰리 inclining toward her before she wipes her eyes and leaves.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Hillside ground (The ground where the companions have been playing with dirt remains behind 앰버); used as A subdued background that retains the outdoor location without competing with her eyes.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ] ], "asset_id": "3845cba1-4eec-425a-b748-144e27b06465" }, "S71sh25": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S71sh25.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_coastal_cliff_edge_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At a roadside stopping point above a broad violet field, with a research building visible in the distance.\n\nSHOT TEXT (authoritative, Korean): 차에서 내린 이현우, 앰버, 라울, 찰리가 제비꽃밭을 내려다보며 입을 반쯤 벌린 경이로운 구도.\n\nCARRIED STATE (persist exactly): An extensive field of violets fills the daylight landscape, with the research laboratory visible in the distance. The old truck has stopped beside the viewing point. 이현우: He has stepped out of the truck and is looking over the flower field, still fatigued and carrying his accumulated injuries. 앰버: She has stepped out to look over the flower field and retains the flower drawing. Her recent head injury remains. 라울: He has stepped out to look over the flower field. 찰리: He has stepped out to look over the flower field. His unrepaired battle damage, exposed chest opening and salvaged chest component remain.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Settle the crane at the inherited elevated field-side angle, looking obliquely down across the four companions' three-quarter faces and full bodies rather than presenting a frontal lineup. 이현우 holds the left, 앰버 and 라울 occupy uneven central depths, and 찰리 remains right, all looking down into the violets with mouths slightly open; a forward weight shift, a halted step, an inclined neck, and bent knees give their shared wonder distinct physical phases. Let the flower field extend diagonally through the lower frame toward the distant laboratory at upper-right, retaining the established lighting as the revealing camera distance supplies the emphasis.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Violet field (An immense abundance of purple violets is in bloom); used as Occupies the ground beneath their collective gaze and opens depth toward the laboratory; 지동현's laboratory (Visible rising in the distance beyond the flowers) — Seen obliquely in the upper-right background; used as Connects the discovery of the flowers with the destination they have sought.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_coastal_cliff_edge_sel.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ] ], "asset_id": "741e4934-89bb-4fb9-b217-afac2d51a808" }, "S72sh38": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S72sh38.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L111B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Beside the open door of a rescue truck at the cliff-edge boundary of a violet field near the abandoned research building.\n\nSHOT TEXT (authoritative, Korean): 찰리가 이현우의 손을 향해 굵은 금속 손바닥을 거칠게 뻗은 채 허공에 떠 있는 역동적인 찰나.\n\nCARRIED STATE (persist exactly): The truck has reached the cliff-edge violet field, and its access door is open. The pursuit takes place in deep sunset light. 이현우: He is at the truck's driving position with the door open and one hand extended. His earlier injuries remain. 찰리: He is boarding the truck from the cliff edge. His chest already has an opening exposing its interior, alongside the earlier dents and holes, and he retains the salvaged chest component.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track with the truck from immediately inside its open doorway, at sill height behind and to the side of 이현우's reaching arm, looking diagonally outward and slightly upward clear of 찰리's boarding path. 이현우's cropped shoulder and reaching hand enter from the lower-left, while 찰리's extended metal palm and airborne full body form a diagonal toward the center-right, with the cliff edge still visible behind him. Emphasize 찰리's changing position alone as he reaches toward 이현우's hand rather than the lens; 이현우 leans into the reach, concentrating on the approaching palm, and both hands remain proportionate to their bodies.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Open truck doorway sill viewed from inside in the lower-center of the frame, foreground; Cliff edge outside behind the boarding figure in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: Open truck doorway (Open for 찰리 to board) — Viewed from inside, with the sill low in frame and one jamb along the side; used as Defines the crossing threshold without blocking the reaching hands; Cliff edge (Visible behind the airborne 찰리) — Seen obliquely beyond the doorway; used as Establishes the dangerous exterior from which he is boarding.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L111B01.png" ], [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/56ee7ae1-68b3-4ca9-bf60-2340783e6b9b.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "dbf5c1c0-8b76-4383-a15c-2e9faa7c9029" }, "S72sh61": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S72sh61.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L111B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the rear cargo bed of a truck stranded on a road at night, exposed to the sound and weather of the surrounding rain.\n\nSHOT TEXT (authoritative, Korean): 이현우가 짐칸에서 축 늘어진 앰버의 상체를 두 팔로 빈틈없이 꽉 껴안은 채 어깨를 잔뜩 움츠린 구도.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Amber is limp in the truck's cargo bed, with her upper body tightly cradled against Hyunwoo in both of his arms and her eyes closed after her side injury. Her exact head support, arm and leg positions, and lower-body contact with the cargo bed are unspecified.\n\nCARRIED STATE (persist exactly): The truck has stopped on the road with its fuel completely exhausted. Rain is falling outside at night. 이현우: He is hunched inside the stopped truck, holding his arms tightly around a supported weight and sobbing. His earlier injuries remain. 앰버: She has a serious bleeding wound in her side and is limp, with her eyes closed. Her earlier head injury remains.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold inside the stopped truck's cargo area above 이현우's seated head, looking down from his side in the inherited oblique composition. His hunched upper body occupies the left-center and 앰버's limp upper body lies diagonally across the lower-right, enclosed tightly by both his arms; he looks down at her face while her eyes remain closed. Keep 찰리 beside them but outside this tighter frame, and make the contraction of 이현우's shoulders around 앰버 the sole emphasized change, with no camera movement or turn toward the later arrival.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Truck cargo-area interior (The truck has stopped, and the companions remain inside) — Floor and inner side are seen obliquely around the seated embrace; used as Forms a restrained enclosing margin around the bodies without introducing additional visible occupants.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L111B03.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ] ], "asset_id": "04b44537-a6cb-4e63-82f9-1511af98f1ef" }, "S72sh65": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S73sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S73sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L115B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Beside a sleeping patient's bed inside a harbor-town health clinic, under nighttime clinical lighting.\n\nSHOT TEXT (authoritative, Korean): 이현우가 침대에 누운 앰버를 내려다보며 미간을 살짝 찌푸린 걱정스러운 표정.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Amber is reclining on the clinic bed after emergency treatment, with her body supported by the bed and her eyes closed in sleep. Her exact head support, torso orientation, and arm and leg positions are unspecified.\n\nCARRIED STATE (persist exactly): The nighttime clinic contains the bed used for emergency recovery. 앰버: She is reclining on the clinic bed after emergency treatment for her side wound, with her body supported by the bed and her eyes closed in sleep. Her condition has stabilized for the moment. 이현우: He stands at the bedside with a worried expression. His skin and clothing are grimy, with accumulated injuries still evident.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the bedside dolly-in slightly above 이현우's eye height, looking diagonally downward into a medium composition with his three-quarter face at upper left and 앰버's sleeping head and upper body at lower right. His torso inclines toward the bed, brow lightly tightened and gaze lowered to her face, while her eyes remain closed. Let the decreasing camera distance carry the emphasis, stopping before the subsequent lowering move toward the priest.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Health-center bed (Occupied by 앰버 after emergency treatment) — The near side runs diagonally beneath the two faces; used as Connects the worried observer above with the sleeping patient below without exaggerating their height difference.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L115B02.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ] ], "asset_id": "8c030b7e-b4bd-422b-a85e-837a4edf1d19" }, "S73sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S74sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S74sh3.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At an outdoor street-food table in the subdued harbor market at night, among fish traders.\n\nSHOT TEXT (authoritative, Korean): 노상 식당 의자에 마주 앉은 쿠마가 이현우를 향해 씁쓸한 표정으로 고개를 떨군 구도.\n\nCARRIED STATE (persist exactly): The nighttime harbor street contains a roadside eating place and fish-trading stalls, with little bustle. 이현우: He is at the roadside eating place, still grimy and carrying his accumulated injuries. 쿠마: He is at the roadside eating place.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold just outside 이현우's shoulder and slightly below 쿠마's seated eye height, observing 쿠마 across the table in a three-quarter medium view without crossing the conversation axis. 이현우's cropped shoulder occupies the lower-left edge while 쿠마 sits right of center, his head sinking and his gaze dropping toward the tabletop as the bitter admission lands. Keep the framing steady so the lowered gaze, rather than a simultaneous lighting or distance change, carries the moment.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Street-restaurant table (Between the seated men, before the fish tray arrives) — The near edge is diagonal to the camera, with 쿠마 beyond it; used as Maintains the conversation axis and provides the destination of 쿠마's lowered gaze; Restaurant chairs (Occupied by the two men) — Only portions around the seated bodies are visible; used as Grounds their seated relationship without adding distracting restaurant activity.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ], [ "char:쿠마", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/960ccef5-9bdc-413f-8823-a4bd2711d4d1.png" ] ], "asset_id": "c1c3a0ce-fea6-46ce-9e47-2e14fa7238b0" }, "S74sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S75sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S75sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S75sh8.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L119B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the outdoor approach to the open hangar entrance at the abandoned airfield at night.\n\nSHOT TEXT (authoritative, Korean): 입을 벌린 채 이현우와 쿠마가 있는 창고 문 앞을 향해 맹렬히 뛰어오는 도중 한 발이 지면에서 막 떨어진 신부의 mid-action 찰나.\n\nCARRIED STATE (persist exactly): The hangar remains open with the inoperative light aircraft inside. The campfire continues burning in the derelict airport grounds. 신부: He has arrived at the airport urgently.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track immediately outside and beside the warehouse doorway from a low position, laterally clear of 신부's running line, keeping his full body in a three-quarter wide view. Catch him at center-left with his mouth open and one foot just lifting, moving toward the doorway at screen right; 이현우 and 쿠마 occupy the right edge as cropped rear figures, their faces beyond the crop. 신부 looks toward those men rather than the lens, while their heads turn toward his call, and clear ground ahead of him preserves the direction and urgency of his approach.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Open warehouse entrance, destination of the priest's left-to-right approach in the middle-right of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: Warehouse entrance (Open, with 이현우 and 쿠마 at its edge) — Seen obliquely at screen right from just outside; used as The priest's fixed destination and the spatial anchor for the following pan; Airport approach ground (The visible running route before the doorway) — Extends beneath the priest toward the entrance; used as Makes the lifted foot and remaining distance to the men readable.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L119B03.png" ], [ "char:신부", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/ca1082ed-9323-4ac1-96e7-71a4cf3a4ea4.png" ] ], "asset_id": "7a02bf8d-e147-40f5-b761-d37c4a6591eb" }, "S76sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S76sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S77sh18": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S77sh43": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S77sh43.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L119B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the passenger cabin of the departing helicopter, at the girl's seat with daylight entering through the windows.\n\nSHOT TEXT (authoritative, Korean): 비행하는 헬기 안, 앰버가 조심스레 펼친 두 손바닥 위에 보라색 제비꽃 한 송이가 놓여있는 클로즈업.\n\nCARRIED STATE (persist exactly): The helicopter is airborne in daylight, departing the airport. 앰버: She is aboard the helicopter, holding and examining a violet flower. She remains seriously ill after emergency treatment and has not yet received the required surgery.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From beside 앰버 inside the airborne helicopter, finish the short push-in above and to the side of her hands, looking obliquely downward rather than toward her face. Her carefully opened palms occupy the central two-thirds, with the single violet small against them and her wrists entering from the lower edge; retain a soft margin of cabin context. This is direct observation of her attention to the gift, with her face and all other passengers outside the frame.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Single violet (Resting on 앰버's open palms) — The blossom is visible obliquely from above; used as Small central emotional anchor, scaled against both hands; Helicopter interior (Occupied during flight) — Only a peripheral portion of the cabin is visible; used as Soft contextual margin around the hands.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L119B01.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ] ], "asset_id": "18f1a580-0086-4aa6-8980-51c965050cbf" }, "S77sh46": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S77sh46.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L119B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the empty runway of the abandoned airfield in daylight, after the helicopter has departed.\n\nSHOT TEXT (authoritative, Korean): 낡은 배낭을 멘 이현우와 찰리가 텅 빈 활주로를 따라 나란히 걷는 mid-stride로 한 발을 내딛은 전신 구도.\n\nCARRIED STATE (persist exactly): The helicopter has disappeared into the distance. The old airport remains in daylight, with its derelict grounds and hangars. 이현우: He walks away wearing a backpack. His skin and clothing remain grimy, and his accumulated injuries remain. 찰리: He walks away wearing a backpack. His unrepaired battle damage, exposed chest opening and salvaged chest component remain.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Enter the rear three-quarter tracking position slightly below shoulder height, looking diagonally along the empty runway with both figures fully visible. Place 이현우 left of 찰리 in the lower middle of the frame, leaving clear ground below their feet and open space ahead; match their initial pace, emphasizing their change into forward movement. 이현우 watches the route ahead while 찰리 turns toward him to talk with a slightly lowered gaze, their steps caught in different phases beneath their worn backpacks.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Empty runway (Unoccupied along the pair's route) — Recedes diagonally from the lower frame into the space ahead; used as Carries the walking direction and separates both feet from the frame edge; Worn backpacks (Worn by 이현우 and 찰리) — Rear and side surfaces are visible from the trailing camera; used as Links the two departing silhouettes without obscuring their different strides.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L119B02.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ], [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/56ee7ae1-68b3-4ca9-bf60-2340783e6b9b.png" ] ], "asset_id": "98cb0775-4ba7-4723-ac48-4e4ef20d6876" }, "S78sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S78sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the harbor quay's edge beside an old mooring post, overlooking moored boats in the evening.\n\nSHOT TEXT (authoritative, Korean): 커다란 모포를 뒤집어쓴 찰리와 이현우가 부둣가 낡은 나무 기둥 옆에 나란히 걸터앉은 구도.\n\nCARRIED STATE (persist exactly): Boats are moored along the harbor in fading evening light, and fish are displayed for sale beside the dock. The sea moves against the quay. 이현우: He sits on the dock with his backpack. His grimy appearance and accumulated injuries remain. 찰리: He sits on the dock covered by a large blanket, retaining his backpack and salvaged chest component. His unrepaired battle damage and exposed chest opening remain beneath the covering.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold the wider entrance position of the approach on the landward side of the quay, above the seated pair's eye line and tilted gently downward at an oblique angle. 찰리 sits left of 이현우 across the lower middle, their blanket-covered bodies and seated legs visible beside the old wooden post at the right edge; portions of the moored boats remain beyond them. Both search the boats rather than the lens, 찰리 leaning slightly forward while 이현우 turns his shoulders toward the harbor.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Old wooden quay post (Beside the seated pair) — Seen obliquely at the right frame edge; used as Local spatial anchor, kept narrow and subordinate to the figures; Quay edge (Used as a seat by 찰리 and 이현우) — Runs obliquely beneath the pair; used as Establishes their shared seating plane; Moored boats (Stationary in the harbor) — Partial hull profiles are visible beyond the seated figures; used as Provides the distant destination of their searching attention; Large blanket covering (Draped over the seated pair) — Outer folds face the oblique camera; used as Connects their silhouettes while preserving individual posture.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/56ee7ae1-68b3-4ca9-bf60-2340783e6b9b.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "d1f7a3c6-44c8-4a99-80c4-9c2586c36402" }, "S78sh14": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S78sh14.png", "plate_path": null, "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the quayside mooring of an old small vessel, where its captain and crew are carrying out repairs at night.\n\nSHOT TEXT (authoritative, Korean): 크리스가 모포를 쓴 찰리의 거대한 덩치에 시선을 둔 채, 미간을 살짝 찌푸린 의아한 얼굴.\n\nCARRIED STATE (persist exactly): An old boat is moored at the evening harbor for maintenance and boarding. 크리스: He is beside the old boat at the maintenance and boarding point.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the inward approach beside 찰리 at 크리스's eye level, looking past the outside of 찰리's shoulder without moving onto 크리스's direct facing axis. 크리스's questioning face occupies the right-center, his brow slightly drawn and his gaze lowered toward 찰리's blanket-covered bulk; only a narrow shoulder edge remains at the left foreground. Keep 찰리 oriented toward 크리스 with his face outside the crop, using shallow focus to emphasize the change in camera distance rather than a new lighting or blocking cue.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 찰리's blanket (Covering his shoulder and concealing his bulk) — Only the outer shoulder fold appears along the left edge; used as Narrow foreground reference establishing the subject of 크리스's scrutiny; Old boat (Moored for maintenance) — A soft partial side view remains behind 크리스; used as Background context for the encounter and subsequent boarding.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [], "asset_id": "cf55fbf5-2f77-4eae-a6e9-18a111c56c5e" }, "S78sh19": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S79sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S79sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L123B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the sofa inside a small two-person crew cabin aboard the vessel, under subdued cabin lighting at night.\n\nSHOT TEXT (authoritative, Korean): 이현우 옆에서 찰리가 등받이에 기댄 채 눈가 금속 부품을 아래로 떨군 묘한 표정.\n\nCARRIED STATE (persist exactly): The small two-person cabin contains a sofa, and its door is closed. The boat remains underway at night. 이현우: He reclines on the sofa with his legs stretched out, retaining his backpack. His grime and accumulated injuries remain. 찰리: He reclines against the sofa back, still covered by the blanket and retaining his backpack and salvaged chest component. His unrepaired body damage remains.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Maintain the low sofa-side tracking position, looking obliquely past 이현우's near shoulder toward 찰리 in a stable three-quarter upper-body composition. 이현우 forms a soft left foreground edge with his legs extended beyond the crop, while 찰리 reclines at right-center against the backrest, his lowered eye components and uncertain expression clearly readable. 찰리's attention rests downward toward the sofa between them as he answers, while 이현우 turns toward him to listen without either figure addressing the lens.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Sofa (Supporting both reclining figures) — Seat and backrest are viewed obliquely from beside 이현우; used as Shared support plane connecting the foreground listener and 찰리; Small cabin wall (Enclosing the seated figures) — Visible behind the sofa; used as Restrains background depth and reinforces the intimate shared space.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L123B02.png" ], [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/56ee7ae1-68b3-4ca9-bf60-2340783e6b9b.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "9fa928a6-95e5-4ed7-8867-e60207229ca5" }, "S79sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S79sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S80sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S80sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L122B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the exposed edge of the vessel's storm-battered deck, beside the post used to brace against the waves.\n\nSHOT TEXT (authoritative, Korean): 찰리의 거대한 금속 손이 허공에 뜬 이현우의 손목을 빈틈없이 꽉 틀어쥔 타격감 있는 클로즈업.\n\nCARRIED STATE (persist exactly): Torrential rain and typhoon-driven waves batter the boat at night, severely limiting visibility. The deck and its upright post are drenched. 이현우: He is soaked and suspended at the edge of the boat, with one arm stretched upward. His backpack and earlier injuries remain. 찰리: He braces on deck with one hand gripping a post and the other extended outward. He is soaked, with his earlier body damage, blanket, backpack and salvaged chest component retained.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the approach beside 찰리 at the ship's edge, slightly above the joined hands and looking obliquely downward from the established side of their connection. 찰리's metal hand enters from the upper left and closes completely around 이현우's wrist at center, while 이현우's forearm extends toward his partially visible suspended body at lower right; retain a peripheral glimpse of the pillar supporting 찰리. Both remain intent on their endangered connection with their faces outside the crop, and the grip becomes the focal point through proximity rather than exaggerated hand scale.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Ship's edge (Exposed to torrential rain and waves) — Runs obliquely behind the connected arms; used as Separates 찰리's support side from 이현우's suspended position; Pillar (Gripped by 찰리 with his other hand) — A partial side is visible at the upper-left margin; used as Peripheral evidence of the rescue's physical support.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L122B01.png" ], [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/56ee7ae1-68b3-4ca9-bf60-2340783e6b9b.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "875ca88c-cf91-4447-a5cd-cd2e8f199f32" }, "S80sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S80sh17": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S80sh17.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L122B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Deep in the open sea beneath the storm-struck vessel, among sinking cargo in increasingly dark water.\n\nSHOT TEXT (authoritative, Korean): 거대한 선박의 짐짝들과 함께 찰리와 이현우의 몸이 어두운 심해로 끝없이 가라앉고 있는 상태의 수중 mid-action 전경.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Hyunwoo is unconscious and sinking freely beneath the sea among the ship's heavy cargo, with no supporting surface specified. His exact head angle, torso orientation, and arm and leg positions are unspecified.\n\nCARRIED STATE (persist exactly): Heavy cargo from the vessel sinks into increasingly dark seawater. Charlie is submerged and descending, with his already damaged body and chest opening still unrepaired. 이현우: He is unconscious and sinking deeper underwater, with his clothing soaked through.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: End the underwater withdrawal far above and to one side of 찰리 and 이현우, looking diagonally downward in a direct, detached wide view; emphasize increasing camera distance rather than introducing another compositional change. Their small, separated bodies occupy the lower central area, 찰리 angled toward the descending cargo and the unconscious 이현우 sinking with loose limbs and closed eyes. Distribute the heavy cargo around them at different depths without obscuring either figure, leaving substantial empty water above their descent.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Heavy ship cargo (Submerged and sinking alongside the two bodies) — Separate pieces present different oblique faces along the downward path; used as Establish depth and scale around the small figures, with no individual piece exceeding a minor portion of the frame; Deep water (Surrounding the descending bodies and cargo); used as Provide unbroken negative space around the final retreating composition.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L122B02.png" ], [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/56ee7ae1-68b3-4ca9-bf60-2340783e6b9b.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "9248eed0-e73d-485c-a3de-296b590984b4" }, "S81sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S81sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L127B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On a white bed inside the island research institute's temporary shelter room, beneath bright fluorescent lights with a turquoise sea visible outside the window.\n\nSHOT TEXT (authoritative, Korean): 눈부신 형광등 불빛 아래 새하얀 침대에서 이현우가 두 눈을 번쩍 뜬 얼굴 클로즈업.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Hyunwoo is reclining on a white bed in the temporary shelter, with his body still supported by the bed as his eyes open. His exact head support, torso orientation, and arm and leg positions are unspecified.\n\nCARRIED STATE (persist exactly): A white bed stands beneath strong fluorescent lighting in the temporary shelter. The emerald-blue sea of Jeju is visible through the window. 이현우: He is waking on the white bed, dressed in fresh white clothing.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold beside the head end of the bed, above and laterally offset from 이현우, looking diagonally across his face in a direct high-angle close-up before the crane begins. His face occupies the central-right portion, with the white bed bordering his head and a small portion of his white clothing below; catch his eyes snapping open toward the fluorescent light above and outside the frame. Retain the oblique downward viewing relationship from the preceding scene, making the changed camera distance the primary framing contrast.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: White bed (Occupied by 이현우 as he awakens) — Only the upper surface immediately around his head and shoulders is visible; used as Border the face without introducing unrelated room details.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L127B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "05182809-a86d-4e44-857b-350db4b17ce5" }, "S81sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S81sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S81sh8.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L127B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the white interior corridor of the island research institute, on the route toward a card-controlled door under institutional lighting.\n\nSHOT TEXT (authoritative, Korean): 새하얀 연구소 복도, 서지민의 뒤쪽에서 발걸음을 우뚝 멈추고 선 이현우의 전신.\n\nCARRIED STATE (persist exactly): 이현우: Still dressed in white, he has stopped in the research facility corridor. 서지민: She is in the research facility corridor wearing her research coat and carrying her researcher access card.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the tracking deceleration along one side of the corridor, ahead of 서지민, holding a slightly low, diagonally backward direct view with 이현우's entire body visible. Place 서지민 in the left near plane finishing her own step and 이현우 farther back at center-right, his feet arrested unevenly beneath a tense torso as he addresses her ahead of him. Emphasize only the change in their relative positions as his stop interrupts their shared movement, preserving the established corridor viewing axis and camera distance.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: White research corridor (Occupied by 서지민 ahead and the halted 이현우 behind) — The side wall and floor recede diagonally behind the nearer figure; used as Keep a visible strip of floor between the figures so their interrupted following relationship reads clearly.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L127B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ], [ "char:서지민", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/551a23fa-462b-4a6e-b7de-a839442927bc.png" ] ], "asset_id": "6f8a7b3e-abe3-4305-8014-48420ac98eb5" }, "S82sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S82sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L129B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the expansive main hall of the island energy research center, among tropical plants and research equipment under ambient research-hall lighting.\n\nSHOT TEXT (authoritative, Korean): 세련된 흰색 연구복 차림의 50대 지소영이 두 사람을 향해 한쪽 발을 앞으로 내디디며 걷고 있는 위압적인 전신.\n\nCARRIED STATE (persist exactly): The main research center contains numerous computers and research devices among tropical plants and flowers. 지소영: She wears a clean research coat and is approaching through the main center.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin the approach stage low behind and to one side of 이현우 and 서지민, looking slightly upward and obliquely across 지소영's walking path in a direct full-figure view. Confine the turned shoulders of 이현우 and 서지민 to opposite foreground edges, with their faces beyond the crop as they attend to her; place the polished woman in her mid-fifties just right of center, advancing one foot toward them in her white research coat and looking toward 이현우's off-frame face. Let her advancing position carry the emphasis while the camera holds its entry composition, leaving the surrounding research space visible around her.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Research equipment (Distributed throughout the main research center) — Oblique sides recede around the open approach path; used as Establish the facility's scale while keeping 지소영's full silhouette unobstructed; Tropical plants and flowers (Numerous within the main research space); used as Break up the equipment-filled background without placing a large foreground obstruction over the approaching figure; Main research-center interior (A vast space containing computers, equipment, and planting) — Viewed diagonally past the two foreground observers; used as Preserve expansive depth above and beside the full-length figure.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L129B01.png" ], [ "char:지소영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/b6020437-f703-4170-b3de-e66f460b8280.png" ] ], "asset_id": "8ce9deaa-5e60-4b66-a9fd-d69c2650e24d" }, "S82sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S82sh16": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S83sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S83sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S83sh17": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S84sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S84sh18": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S84sh21": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S85sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S85sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S85sh22": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S85sh22.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L130B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At a dining table inside the research institute's communal cafeteria, under daytime dining-room lighting.\n\nSHOT TEXT (authoritative, Korean): 이현우가 테이블을 두 손으로 짚고 상체를 반쯤 일으킨 채 입을 크게 벌려 고함치는 역동적인 찰나.\n\nCARRIED STATE (persist exactly): Appetizing bread and other food remain on the dining table, still uneaten. 이현우: He is at the dining table in his white clothing, with an abruptly shocked and angry expression.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the established endpoint beside 서지민's end of the table, keep the camera at 이현우's former seated eye height and tilt upward as he half-rises, producing a low, oblique medium view without moving onto his frontal axis. His lifted torso occupies the central upper frame while both planted hands remain separated across the lower edge, with bread and food visible between them at natural scale. His open-mouthed shout and fixed attention are directed toward 서지민 just outside the left edge, making his change of body position—not a new camera distance—the emphasized rupture.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: Tabletop retaining both planted hand contacts in the lower-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: Dining table (Supporting both of 이현우's hands and his meal) — The top recedes diagonally from the lower frame toward his torso; used as Keeps the two hand contacts visible in the lower quarter without exaggerated foreground scale; Bread and food (Set before 이현우 and not yet eaten); used as Remain as small contextual shapes between his hands, contrasting the interrupted meal with his reaction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L130B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "2bba71ea-c759-45ae-b398-a51f11c2d202" }, "S86sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S86sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L131B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Directly before the desk inside the research center director's office, under nighttime office lighting.\n\nSHOT TEXT (authoritative, Korean): 이현우가 지소영의 책상 앞에 선 채 두 주먹을 꽉 쥐고 쏘아붙이는 분노의 표정.\n\nCARRIED STATE (persist exactly): The director's office retains its clean, modern furnishings and the old piano in the central hall. 이현우: He has entered the director's office in his white clothing and stands confronting the room in anger.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold the stage's opening position beside the desk at approximately upper-torso height, oblique to the confrontation line, before beginning the reaction pan. Frame 이현우 from his clenched fists to above his head in the left-center, leaving open space to the right toward 지소영 just beyond the crop and retaining the desk corner below as the boundary he has reached. His weight remains pitched forward from his approach, both fists tightened low, and his angry attention stays on 지소영 rather than the lens.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 지소영's desk (Between the confronting positions) — A corner and adjoining top edges are seen diagonally from the camera's lateral position; used as Establishes the confrontation boundary along the lower right without obscuring either fist.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L131B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "e36081f1-674f-4ca6-9d76-773c0fc75ced" }, "S86sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S87sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S87sh5.png", "plate_path": null, "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the command desk inside the special operations colonel's office, under nighttime office lighting.\n\nSHOT TEXT (authoritative, Korean): 이강준이 두 주먹을 책상 위에 꽉 쥔 채 앞으로 몸을 쑥 내민 결연한 구도.\n\nCARRIED STATE (persist exactly): 이강준: He is in the special-task-force commander's office receiving the report.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the approach beside the soldier's position, just above desktop height and below 이강준's eye line, holding a low three-quarter medium composition. Place both clenched fists across the lower quarter and his forward-driven torso above them, with his face turned toward the reporting soldier just outside the left edge rather than toward the lens. Let his forward body position provide the final emphasis while the camera settles, preserving this office as a distinct space before the explicit cut to 윤성찬's office.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Commander’s desk (Supporting 이강준's clenched fists) — Its top is seen at a shallow angle from beside the soldier's position; used as Forms a restrained lower-frame plane connecting both fists and anchoring his forward lean.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [], "asset_id": "37dfc33d-7dc4-4664-aee7-7e7e37eb0f46" }, "S87sh10": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S87sh10.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the corporate chairman's private office at night, near the equipment used to monitor military communications.\n\nSHOT TEXT (authoritative, Korean): 윤성찬이 검지손가락을 세워 자신의 입술에 댄 채 거만한 눈빛을 뿜어내는 찰나.\n\nCARRIED STATE (persist exactly): 윤성찬: He is in his Ubik chairman's office during the intercepted military communication.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Settle the established dolly at 윤성찬's seated eye height, remaining oblique to his face and outside the direct line between him and the mercenary captain. In a close three-quarter view, place his eyes above center and retain the full raised index finger from its base to its contact with his lips, leaving a narrow margin toward the captain outside the right edge. His haughty attention stays on the captain as the fingertip meets his lips; keep the existing axis and let the completed approach supply the emphasis.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Chairman's office interior (Surrounding 윤성찬 in the separate office location); used as Remains softly unresolved around the close facial composition without adding unsupported furnishings.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:윤성찬", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/a13d4a18-0975-4359-99d6-64f23dba3390.png" ] ], "asset_id": "29cf54f1-42ca-43fa-be8c-00dac6ede326" }, "S88sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S88sh37": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S88sh41": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S89sh38": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S89sh58": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S89sh73": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S89sh73.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L138B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the devastated outdoor aftermath site beside the island research institute, where the robot's remaining fragments lie at night.\n\nSHOT TEXT (authoritative, Korean): 이현우가 찰리의 차가운 금속 잔해 위로 상체를 엎드린 채 오열하는 슬픈 뒷모습.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Charlie's powered-off remains consist of only part of his burned metal torso, held against Hyunwoo as Hyunwoo folds his upper body over them in grief. No intact limb arrangement or precise orientation of the surviving torso is specified.\n\nCARRIED STATE (persist exactly): Night has fallen outside the devastated research center, and the white beam is gone. Only part of Charlie's burned-away torso remains; its remaining power has now shut off. 이현우: He is outside the research center, still wounded by grenade fragments and wearing the receiver on his clothing, bent over in uncontrollable grief.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Let the retreating crane settle behind and slightly to the left of 이현우, looking downward from the inherited elevated endpoint in a direct, unmediated view. His folded back occupies the lower-center region, his arms closing around 찰리's remaining torso fragment just beyond him, while a broad margin of surrounding ground makes the withdrawal—not a new lighting change—the emotional emphasis. His lowered face stays hidden against the remains, and 찰리 is shown only as the powered-down fragment rather than a restored full body.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Ground outside the institute (Exposed around 이현우 and 찰리's remains) — Seen obliquely downward from behind 이현우; used as Creates negative space around the compact embrace.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L138B03.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "38594bd0-bd30-4888-bdd8-80137721ab5d" }, "S90sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S90sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L143B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At a chair facing an altar-like parts table inside a large dark research room, with a large display glowing above the fragments.\n\nSHOT TEXT (authoritative, Korean): 상처투성이인 이현우가 테이블 앞 의자에 앉아 부서진 금속 부품들을 하염없이 내려다보는 쓸쓸한 뒷모습.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Charlie's dismantled metal parts rest separately on the altar-like table in front of Hyunwoo. There is no assembled torso, head, or limb pose, and the exact placement and orientation of the individual parts are unspecified.\n\nCARRIED STATE (persist exactly): The large research room is dim, with disassembled Charlie components arranged on an altar-like table. A large monitor displays Charlie energy-source units distributed across Dubai, Europe, China and Africa. 이현우: He sits behind the display table, still covered in wounds.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Continue the slow approach from behind and left of seated 이현우, maintaining the slightly elevated downward view across his back toward the table. His wounded shoulders and lowered head occupy the left foreground, the disassembled parts lie ahead across the middle-right, and the monitor remains beyond the table without becoming the viewing medium. He folds toward the parts with his gaze lowered, making the direct relationship between mourner and remains legible through depth rather than a frontal reaction shot.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Altar-like table and disassembled parts (찰리's separated parts rest on the tabletop) — The near edge and top are visible beyond 이현우's shoulder; used as Receives his downward attention and links the foreground figure to the middle distance; Large monitor (Displaying 찰리 units distributed around the world) — Its image-bearing face is visible beyond the table, showing the worldwide units; used as Supplies a distant counterpoint to the disassembled individual on the table; 이현우's chair (Occupied) — Its rear and left side are partially visible beneath him; used as Anchors the seated posture and the camera's left-side approach.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L143B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/fe6ff359-5fcd-43c5-aed0-c36c3d33d829.png" ] ], "asset_id": "c747d2f6-6600-48e1-a0d5-384bb63f1959" }, "S90sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S90sh18": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S91sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S91sh3.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: In clear shallow seawater immediately beside a rocky island outcrop, outdoors in daylight.\n\nSHOT TEXT (authoritative, Korean): 튀어 오르는 물보라 속에서 앰버와 라울이 양손으로 작은 그물을 쥔 채 활짝 웃는 역동적인 구도.\n\nCARRIED STATE (persist exactly): One month later, clear seawater reveals fish below the surface beside the island rocks, and food is being arranged on a dining table. Charlie is reconstructed and active again, attempting to catch fish. 앰버: She is at the water catching fish. 라울: He is at the water catching fish.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track laterally at the pair's lower-chest height on the inherited oblique axis, observing their fishing directly with a slight upward bias toward their smiling faces. 앰버 occupies the left half with elbows bent as the net comes inward, while 라울 occupies the right with arms extending through a different phase of the same shared motion; both pairs of hands and the small net remain visible across the lower third at natural scale. Their faces angle down toward the net and disturbed water rather than the lens, with splashes crossing the lower foreground without hiding the handwork.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Small fishing net (Held with both participants' hands during fishing) — Seen obliquely between the two bodies, below their faces; used as Connects their asynchronous gestures without obscuring either pair of hands; Seawater (Clear water disturbed by fishing, with splashes above its surface) — The near surface is visible beneath the hands; movement interrupts the view into the water; used as Supplies foreground motion and establishes the activity's physical setting.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/18d5bbbb-7d85-4694-b6b2-362794257c83.png" ], [ "char:라울", "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/reference/803003f4-e4e4-42b8-bed7-ae751165a95e.png" ] ], "asset_id": "2d7c3ffa-9387-43ec-b144-f1208b52f575" }, "S91sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S91sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null } }, "map_conti": {}, "conti_pack": "5.202607222353", "lane_conti": { "S1sh4": { "lane": "structure_plate", "group_id": "bg_seabed_debris", "segment_id": "crane_descent", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_seabed_debris_sel.png", "seed_asset_id": "a83c0efc-7645-485a-a758-a3edf17b4932", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_seabed_debris_sel.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S5sh10": { "lane": "structure_plate", "group_id": "bg_luxury_house", "segment_id": "seg_01", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_luxury_house_sel.png", "seed_asset_id": "93e38602-1247-4591-8e5c-e38083816dd4", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L07B01.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S5sh10.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L07B01.png" }, "S5sh20": { "lane": "structure_plate", "group_id": "bg_luxury_house", "segment_id": "seg_02", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_luxury_house_sel.png", "seed_asset_id": "93e38602-1247-4591-8e5c-e38083816dd4", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L07B01.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S5sh20.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L07B01.png" }, "S7sh20": { "lane": "structure_plate", "group_id": "bg_artificial_seawall", "segment_id": "seg_01", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_artificial_seawall_sel.png", "seed_asset_id": "689999ad-8d31-4952-8354-722109bc1dd0", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_artificial_seawall_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S7sh20.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_artificial_seawall_sel.png" }, "S11sh3": { "lane": "structure_plate", "group_id": "bg_refugee_camp_gate", "segment_id": "seg_01", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_refugee_camp_gate_sel.png", "seed_asset_id": "44c554ff-13e3-458c-83bf-864316dac1cf", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_refugee_camp_gate_sel.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S11sh5": { "lane": "structure_plate", "group_id": "bg_refugee_camp_gate", "segment_id": "seg_02", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_refugee_camp_gate_sel.png", "seed_asset_id": "44c554ff-13e3-458c-83bf-864316dac1cf", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_refugee_camp_gate_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S11sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_refugee_camp_gate_sel.png" }, "S13sh14": { "lane": "structure_plate", "group_id": "bg_roadside_barrel_fire", "segment_id": "seg_02", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_roadside_barrel_fire_sel.png", "seed_asset_id": "02baceb0-aacc-4af3-8b75-a81171fa4c57", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_roadside_barrel_fire_sel.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S22sh1": { "lane": "structure_plate", "group_id": "bg_refugee_market_street", "segment_id": "seg_01", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_refugee_market_street_sel.png", "seed_asset_id": "557ad3c7-175c-42e9-9709-36354572bb5a", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_refugee_market_street_sel.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S24sh3": { "lane": "structure_plate", "group_id": "bg_primary_container_home", "segment_id": "segment_2", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_primary_container_home_sel.png", "seed_asset_id": "b86d0aae-cb8e-4c9d-bb09-59a96b48673d", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L21B01.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S24sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L21B01.png" }, "S25sh24": { "lane": "structure_plate", "group_id": "bg_outdoor_reception", "segment_id": "seg_02", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_outdoor_reception_sel.png", "seed_asset_id": "24131eeb-c517-44d7-890e-15c4f0bbe013", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_outdoor_reception_sel.png", "bg_reason": "", "bypass_reason": "prev" }, "S25sh29": { "lane": "structure_plate", "group_id": "bg_outdoor_reception", "segment_id": "seg_03", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_outdoor_reception_sel.png", "seed_asset_id": "24131eeb-c517-44d7-890e-15c4f0bbe013", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_outdoor_reception_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S25sh29.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_outdoor_reception_sel.png" }, "S27sh14": { "lane": "structure_plate", "group_id": "bg_refugee_residential_lanes", "segment_id": "segment_3", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_refugee_residential_lanes_sel.png", "seed_asset_id": "fb1c15d7-9723-4177-bf7c-6320da46869c", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_refugee_residential_lanes_sel.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S27sh22": { "lane": "structure_plate", "group_id": "bg_refugee_residential_lanes", "segment_id": "segment_2", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_refugee_residential_lanes_sel.png", "seed_asset_id": "fb1c15d7-9723-4177-bf7c-6320da46869c", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_refugee_residential_lanes_sel.png", "bg_reason": "", "bypass_reason": "prev" }, "S28sh7": { "lane": "structure_plate", "group_id": "bg_militia_road_checkpoint", "segment_id": "seg_2", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_militia_road_checkpoint_sel.png", "seed_asset_id": "b4c18cf3-5ae5-4429-8e1c-57108458b82e", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_militia_road_checkpoint_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S28sh7.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_militia_road_checkpoint_sel.png" }, "S28sh9": { "lane": "structure_plate", "group_id": "bg_militia_road_checkpoint", "segment_id": "seg_3", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_militia_road_checkpoint_sel.png", "seed_asset_id": "b4c18cf3-5ae5-4429-8e1c-57108458b82e", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_militia_road_checkpoint_sel.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S33sh10": { "lane": "structure_plate", "group_id": "bg_camp_church_airspace", "segment_id": "seg_02", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_camp_church_airspace_sel.png", "seed_asset_id": "df4f6cc4-e0e9-495c-bf77-aa7acebc593c", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_camp_church_airspace_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S33sh10.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_camp_church_airspace_sel.png" }, "S33sh14": { "lane": "structure_plate", "group_id": "bg_camp_church_airspace", "segment_id": "seg_03", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_camp_church_airspace_sel.png", "seed_asset_id": "df4f6cc4-e0e9-495c-bf77-aa7acebc593c", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_camp_church_airspace_sel.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S35sh2": { "lane": "map_marker", "group_id": "bg_tsunami_street", "segment_id": "segment_1", "marker_attempts": 3, "marker_best_effort": true, "marker_pick_index": 3, "marker_pick_count": 3, "marker_pick_why_ko": "후보 3은 카메라 및 피사체들의 위치와 시야각이 모두 정확하게 배치되어 있으며, 오직 피사체들의 바라보는 방향(화살표)만 잘못되었기 때문에 지시사항과 가장 가깝습니다.", "marker_model": "nb2", "marker_check": { "markers_ok": false, "details_ko": "모든 캐릭터(E1, E2, E3)의 방향 화살표가 잘못된 방향을 가리키고 있습니다.", "violations": [ { "axis": "entity_facing", "note_ko": "E1, E2, E3의 화살표가 지시된 좌표(우측 상단)가 아닌 우측 하단 방향을 향하고 있습니다." } ] }, "marker_models_tried": [ "nb2" ], "sketch_attempts": 1, "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/lane_sketch_S35sh2.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/canon_bg_tsunami_street_map.png", "base_map_asset_id": "d78448d0-ea1d-4389-aba8-efb659cb27c5", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/lane_marker_map_S35sh2.png", "marker_prompt": "Edit the attached TOP-DOWN SITE PLAN image: draw STAGING MARKERS on it\nat the positions described below. This is a planning aid for a film\ncrew, drawn over the plan.\n\nPLACEMENT AUTHORITY: each marker line below gives its position as\nnormalized fractions of this canvas — x runs left→right 0..1, y runs\ntop→bottom 0..1 — and THOSE FRACTIONS ARE THE AUTHORITY. Measure them\non the attached image and put the marker there. Each line also names a\nnearby landmark; use it to check you landed on the right feature, and\nwhen a landmark phrase and the fractions disagree, follow the\nfractions. This applies to compass words (north, south, east, west)\ntoo: read them only if this plan actually shows a compass or labels\nits own approaches, and even then they never move a marker away from\nits fractions. Do NOT relocate a marker onto a different salient line\nor feature than the one its fractions land on.\n\nNEVER move a marker to make the drawing fit. The camera circle and\nevery subject circle go exactly where their descriptions place them,\neven when that leaves the view wedge or an arrow running off the edge\nof the image — in that case just let the wedge or arrow continue to\nthe image border and stop there. Shifting the camera outward, pulling\na subject aside, or shrinking the wedge to keep it inside the canvas\nall break the plan this map exists to record.\n\nDraw EXACTLY these markers, flat and high-contrast, small enough not\nto hide the plan under them:\n- CAMERA: one filled circle at the camera position, labelled CAM, and\n out of that circle a FIELD-OF-VIEW WEDGE showing what this shot\n sees — two straight thin lines, one running toward each of the two\n frame-edge positions given below, and a third thinner line to the\n look-target position between them. Fill the area between the two\n edge lines with a light translucent tint so the wedge reads as the\n camera's view; the plan underneath must stay fully readable through\n the tint. Every subject listed below stands inside this wedge —\n if your drawing leaves one outside it, the wedge is drawn wrong,\n not the subject.\n- SUBJECTS: one filled circle per subject at its position, labelled\n with its slot code (E1, E2, ...) followed by its short description\n in parentheses, and one short ARROW leaving that circle toward the\n spot the subject faces, so the direction each subject is turned is\n readable at a glance.\n\nChange NOTHING else: keep every zone, landmark, line, label and color\nof the plan exactly as attached — do not redraw, recolor, move or\nremove anything, do not add scenery, shadows or any other symbols or\ntext beyond the markers, wedge, arrows and labels specified above. The\noutput is the SAME plan image with only these staging markers added.\n\nMARKERS TO DRAW:\n- CAM (camera): circle at x=0.20, y=0.65 — the left edge area of the plan (landmark, for reference: in the lower section of the refugee settlement street corridor, near the bottom left); its sight line ends at LOOK TARGET: at x=0.70, y=0.22 — the upper-right area of the plan (landmark, for reference: at the second escaping refugee in the upper right corridor); the frame's LEFT edge cuts through at x=0.40, y=0.10 — the upper middle of the plan (landmark, for reference: along the top boundary of the refugee settlement street corridor, left of center) and its RIGHT edge through at x=0.95, y=0.50 — the right edge area of the plan (landmark, for reference: on the right side of the central street passage strip)\n- E1 (escaping Asian refugee): circle at x=0.60, y=0.30 — the upper middle of the plan (landmark, for reference: in the refugee settlement street corridor, above the right-middle section of the central street passage), facing at x=0.90, y=0.10 — the upper-right area of the plan (landmark, for reference: toward the upper-right boundary of the refugee settlement street corridor)\n- E2 (second escaping Asian refugee): circle at x=0.70, y=0.22 — the upper-right area of the plan (landmark, for reference: further right and higher up within the refugee settlement street corridor), facing at x=0.95, y=0.05 — the upper-right area of the plan (landmark, for reference: at the far upper-right corner of the refugee settlement street corridor)\n- E3 (third escaping Asian refugee): circle at x=0.80, y=0.15 — the upper-right area of the plan (landmark, for reference: near the upper-right edge of the refugee settlement street corridor), facing at x=0.98, y=0.02 — the upper-right area of the plan (landmark, for reference: at the extreme top-right tip of the refugee settlement street corridor)", "geometry": { "entity_placements": [ { "slot": "E1", "subject_en": "escaping Asian refugee", "x": 0.6, "y": 0.3, "anchor_en": "in the refugee settlement street corridor, above the right-middle section of the central street passage", "facing": { "x": 0.9, "y": 0.1 }, "facing_anchor_en": "toward the upper-right boundary of the refugee settlement street corridor", "camera_facing_relation": "away_from_camera", "camera_facing_evidence": "다급히 등을 돌린 채" }, { "slot": "E2", "subject_en": "second escaping Asian refugee", "x": 0.7, "y": 0.22, "anchor_en": "further right and higher up within the refugee settlement street corridor", "facing": { "x": 0.95, "y": 0.05 }, "facing_anchor_en": "at the far upper-right corner of the refugee settlement street corridor", "camera_facing_relation": "away_from_camera", "camera_facing_evidence": "다급히 등을 돌린 채" }, { "slot": "E3", "subject_en": "third escaping Asian refugee", "x": 0.8, "y": 0.15, "anchor_en": "near the upper-right edge of the refugee settlement street corridor", "facing": { "x": 0.98, "y": 0.02 }, "facing_anchor_en": "at the extreme top-right tip of the refugee settlement street corridor", "camera_facing_relation": "away_from_camera", "camera_facing_evidence": "다급히 등을 돌린 채" } ], "camera": { "origin": { "x": 0.2, "y": 0.65 }, "look_target": { "x": 0.7, "y": 0.22 }, "origin_anchor_en": "in the lower section of the refugee settlement street corridor, near the bottom left", "look_target_anchor_en": "at the second escaping refugee in the upper right corridor", "view_left": { "x": 0.4, "y": 0.1 }, "view_right": { "x": 0.95, "y": 0.5 }, "view_left_anchor_en": "along the top boundary of the refugee settlement street corridor, left of center", "view_right_anchor_en": "on the right side of the central street passage strip" }, "rationale_ko": "카메라는 좌측 하단의 난민촌 거리 하부에서 우측 상단으로 다급히 달아나는 아시아계 난민들의 뒷모습을 넓게 포착합니다. 밀려드는 쓰나미의 방향성과 피사체들의 도주 경로(우상단)를 일치시켰으며, '다급히 등을 돌린 채'라는 지문에 맞추어 인물들이 카메라 반대편인 도주로를 향해 전력 질주하도록 배치했습니다." }, "geometry_attempts": 1, "leakage": { "has_marker_leakage": false, "details_ko": "도해용 기호나 글자, 평면도 등의 유출 없이 지시된 카메라 앵글과 씬의 내용만을 표현한 깨끗한 스케치입니다." }, "prompt": "Draw a single CAMERA-VIEW storyboard frame (16:9) of the scene staged\non the attached MARKER-ANNOTATED TOP-DOWN SITE PLAN, seen from the\ncamera position marked on it.\n\nThe attached plan carries STAGING MARKERS drawn over it: a\ncamera-position marker with a field-of-view wedge (where the camera\nstands, which way it looks and how wide it sees) and one labelled\ncircle per subject with an arrow (where each subject stands and which\nway that subject is turned). Jurisdiction of sources — follow all three, they do not\nconflict:\n- The SITE PLAN under the markers is the SOT for what exists on the\n site and how its zones and landmarks are arranged relative to each\n other. The markers themselves are staging aids, NOT site content.\n- The markers on the plan are the SOT for XY POSITIONS, horizontal\n heading and body facing ONLY: where each subject stands on that\n plan, which way each one is turned, where the camera stands, which\n way it looks and how wide its wedge opens. Distances, directions\n and relative depths between subjects come from the marked\n positions; what the wedge covers is what this frame contains, and\n subjects outside the wedge are out of frame. The STAGING GEOMETRY\n text below restates the same staging with coarse normalized\n estimates — it never overrides the marked plan.\n- The CAMERA DIRECTION text below (when present) is the SOT for the\n VERTICAL angle, elevation, tilt and framing (eye-level, high angle,\n overhead crane, low angle, ...). If it asks for a high or overhead\n angle, draw that angle — the site plan being top-down does NOT mean\n the frame must be eye-level. It does NOT govern horizontal\n placement: which side of the frame a subject occupies and which way\n that subject is turned come from the marked plan and the staging\n text, even when that memo also mentions left, right, foreground or\n background.\n\nSTYLE — MANNEQUIN BLOCKING SKETCH: the lightest possible director's\nlayout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR LINES ONLY on pure\nwhite paper. Absolutely NO shading, NO tone, NO texture, NO grayscale\nfill, NO light-and-shadow, NO material rendering. It must read as a\nquick layout guide, never as a finished drawing.\n\nDraw every person as a PLAIN ARTIST'S MANNEQUIN: a featureless oval head\nwith NO face, NO hair, NO clothing and no costume detail — simple tapered\nlimbs and torso. Because the head has no face and no hair, the ONLY thing\nthat shows which way a figure is turned is the BODY ITSELF: the direction\nthe chest, hips and feet point, and the way the head-oval sits on the\nshoulders. Aim each mannequin's chest and feet at the spot the staging\ntext says that person faces, and let the arms carry the action. A\nmannequin turned to the wrong side is the single worst error in this\ndrawing. Environment is reduced to a few placement lines (ground line,\nkey landmark silhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow restate, marker by marker, the staging already marked on the\nattached plan: each landmark-relative description restates the\nmarker-map authority in words, and the normalized fractions in\nparentheses (x left→right 0..1, y top→bottom 0..1) are coarse audit\nestimates only — neither ever overrides the marked plan.\n\nThose fractions are TOP-DOWN bookkeeping. Never read them as left and\nright of your frame: on a plan seen from above, a subject \"to the\nright\" can sit on either side of a camera that looks any direction.\nEach subject line therefore ends with the SAME staging expressed from\nTHIS camera — which part of the frame the subject occupies, and which\nway that subject faces in screen terms (toward the left or right of\nthe frame, toward or away from the camera or side-on to it in\nprofile, and whom they are looking at). Those screen-space statements\nare what your drawing must match:\na figure said to face the right of the frame is turned to the right in\nyour drawing, never mirrored.\n\nDo NOT draw any of this data in the image — no numbers, no\ncoordinates, no labels, no arrows, no cones, no dots, no diagram\nsymbols of any kind.\n\nWhere the CAMERA DIRECTION text below also describes horizontal\nplacement (which side of the frame someone occupies, foreground left,\nbackground right), treat that as background reading only: for anything\nabout left, right and where a subject sits in this frame, the staging\nabove wins. CAMERA DIRECTION governs the vertical angle, elevation,\ntilt and framing.\n\nFor whether a subject faces the camera or is turned away from it, each\nsubject line above already states it in screen terms and the SHOT TEXT\nis the source it was derived from — draw exactly what the subject line\nsays, and never mirror it.\n- the camera stands in the lower section of the refugee settlement street corridor, near the bottom left (coarse estimate x=0.20, y=0.65); its sight line ends at LOOK TARGET: at the second escaping refugee in the upper right corridor (coarse estimate x=0.70, y=0.22); the frame's LEFT edge cuts through along the top boundary of the refugee settlement street corridor, left of center (coarse estimate x=0.40, y=0.10) and its RIGHT edge through on the right side of the central street passage strip (coarse estimate x=0.95, y=0.50) — everything between those two edges is in frame, anything outside them is out of frame\n- escaping Asian refugee stands in the refugee settlement street corridor, above the right-middle section of the central street passage (coarse estimate x=0.60, y=0.30), facing toward the upper-right boundary of the refugee settlement street corridor (coarse estimate x=0.90, y=0.10) — from this camera the subject is near the CENTER of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind\n- second escaping Asian refugee stands further right and higher up within the refugee settlement street corridor (coarse estimate x=0.70, y=0.22), facing at the far upper-right corner of the refugee settlement street corridor (coarse estimate x=0.95, y=0.05) — from this camera the subject is near the CENTER of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind\n- third escaping Asian refugee stands near the upper-right edge of the refugee settlement street corridor (coarse estimate x=0.80, y=0.15), facing at the extreme top-right tip of the refugee settlement street corridor (coarse estimate x=0.98, y=0.02) — from this camera the subject is near the CENTER of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): Finish the parallel tracking stage from a low, laterally offset position behind the runners, looking diagonally across their backs while preserving a broad view of the street behind them. Place the escaping Asian refugees across the center and right, moving toward the upper-right depth, with the advancing black seawater entering from the lower-left rear; their full bodies remain readable without exaggerated foreground scale. This direct observer view emphasizes the shrinking positional gap: raised feet occur at different stride phases, shoulders pitch at different angles, and each runner remains absorbed in the escape route ahead rather than turning toward the water or lens.\n\nTHE LOCATION: 해일이 밀려드는 인천 난민촌 거리\n\nSHOT TEXT (authoritative, Korean): 난민촌 거리에 거대하게 밀려든 검은 바닷물이, 다급히 등을 돌린 채 한 발을 공중에 띄운 질주 자세인 아시아계 난민들의 뒤를 집어삼키기 직전의 맹렬한 찰나.\n\nCARRIED STATE (persist exactly): Seawater is pouring into the settlement through the breached seawall, with a rapidly advancing surge filling the streets. The ground is shaking.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, head-oval and chest turned toward the target the\nSHOT TEXT implies; avoid a stiff attention stance (feet together, arms\nhanging straight down) and a head-oval squared flat to the lens. If the\nSHOT TEXT or any POSE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera look,\ndraw THAT exactly — this clause never overrides it.\n\nCRITICAL — THE SITE PLAN IS A STAGING REFERENCE, NOT CONTENT: do NOT\ndraw the plan itself, and do NOT draw any diagram elements in the\nframe — no circles, dots, wedges, cones, arrows, callouts, codes or\nany other overlay symbols. The output is a clean storyboard drawing\nof the scene as seen by the camera only.\n\nNo text, no letters, no numbers, no captions anywhere in the image.", "lane_sketch_pack": "16.202608252310", "lane_geometry_pack": "4.202607270248", "mannequin_chain_contract": "1", "asset_id": "ddda9700-58b6-4059-bfb4-3efd1b1c41b6" }, "S39sh1": { "lane": "structure_plate", "group_id": "bg_flooded_settlement_surface", "segment_id": "seg_01", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_flooded_settlement_surface_sel.png", "seed_asset_id": "6b1f4dda-6ed9-43b9-8740-3d4044f03bc4", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_flooded_settlement_surface_sel.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S42sh10": { "lane": "structure_plate", "group_id": "bg_refugee_camp_gate", "segment_id": "seg_05", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_refugee_camp_gate_sel.png", "seed_asset_id": "44c554ff-13e3-458c-83bf-864316dac1cf", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_refugee_camp_gate_sel.png", "bg_reason": "", "bypass_reason": "prev" }, "S48sh5": { "lane": "map_marker", "group_id": "bg_checkpoint_bypass_trail", "segment_id": "seg_01", "marker_attempts": 3, "marker_best_effort": true, "marker_pick_index": 2, "marker_pick_count": 3, "marker_pick_why_ko": "후보 1은 5개의 위반 사항(카메라 위치, 시야각, 피사체 위치, 피사체 방향, 불필요한 추가 기호)이 있고 후보 3은 4개의 위반 사항(카메라 위치, 시야각, 피사체 위치, 피사체 방향)이 있는 반면, 후보 2는 피사체의 방향이 요구사항(우측 상단)과 일치하여 3개의 위반 사항(카메라 위치, 시야각, 피사체 위치)만 가지므로 제시된 연출 지시와 가장 가깝습니다.", "marker_model": "nb2", "marker_check": { "markers_ok": false, "details_ko": "카메라와 피사체(E1)의 위치가 잘못되었으며 시야각의 방향도 일치하지 않습니다.", "violations": [ { "axis": "camera_position", "note_ko": "카메라(CAM) 마커가 지정된 좌표(x=0.50, y=0.88)가 아닌 잘못된 위치에 배치되었습니다." }, { "axis": "camera_wedge", "note_ko": "카메라 시야각이 지정된 룩 타겟(x=0.32, y=0.70)을 향하지 않고 다른 방향으로 열려 있습니다." }, { "axis": "entity_position", "note_ko": "E1 마커가 지정된 좌표(x=0.32, y=0.70)가 아닌 산길 위쪽의 다른 위치에 배치되었습니다." } ] }, "marker_models_tried": [ "nb2" ], "sketch_attempts": 1, "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/lane_sketch_S48sh5.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/canon_bg_checkpoint_bypass_trail_map.png", "base_map_asset_id": "167be45e-f433-4c15-b410-1dfb587f14a7", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/lane_marker_map_S48sh5.png", "marker_prompt": "Edit the attached TOP-DOWN SITE PLAN image: draw STAGING MARKERS on it\nat the positions described below. This is a planning aid for a film\ncrew, drawn over the plan.\n\nPLACEMENT AUTHORITY: each marker line below gives its position as\nnormalized fractions of this canvas — x runs left→right 0..1, y runs\ntop→bottom 0..1 — and THOSE FRACTIONS ARE THE AUTHORITY. Measure them\non the attached image and put the marker there. Each line also names a\nnearby landmark; use it to check you landed on the right feature, and\nwhen a landmark phrase and the fractions disagree, follow the\nfractions. This applies to compass words (north, south, east, west)\ntoo: read them only if this plan actually shows a compass or labels\nits own approaches, and even then they never move a marker away from\nits fractions. Do NOT relocate a marker onto a different salient line\nor feature than the one its fractions land on.\n\nNEVER move a marker to make the drawing fit. The camera circle and\nevery subject circle go exactly where their descriptions place them,\neven when that leaves the view wedge or an arrow running off the edge\nof the image — in that case just let the wedge or arrow continue to\nthe image border and stop there. Shifting the camera outward, pulling\na subject aside, or shrinking the wedge to keep it inside the canvas\nall break the plan this map exists to record.\n\nDraw EXACTLY these markers, flat and high-contrast, small enough not\nto hide the plan under them:\n- CAMERA: one filled circle at the camera position, labelled CAM, and\n out of that circle a FIELD-OF-VIEW WEDGE showing what this shot\n sees — two straight thin lines, one running toward each of the two\n frame-edge positions given below, and a third thinner line to the\n look-target position between them. Fill the area between the two\n edge lines with a light translucent tint so the wedge reads as the\n camera's view; the plan underneath must stay fully readable through\n the tint. Every subject listed below stands inside this wedge —\n if your drawing leaves one outside it, the wedge is drawn wrong,\n not the subject.\n- SUBJECTS: one filled circle per subject at its position, labelled\n with its slot code (E1, E2, ...) followed by its short description\n in parentheses, and one short ARROW leaving that circle toward the\n spot the subject faces, so the direction each subject is turned is\n readable at a glance.\n\nChange NOTHING else: keep every zone, landmark, line, label and color\nof the plan exactly as attached — do not redraw, recolor, move or\nremove anything, do not add scenery, shadows or any other symbols or\ntext beyond the markers, wedge, arrows and labels specified above. The\noutput is the SAME plan image with only these staging markers added.\n\nMARKERS TO DRAW:\n- CAM (camera): circle at x=0.50, y=0.88 — the lower middle of the plan (landmark, for reference: on the main road southeast of the mountain track junction); its sight line ends at LOOK TARGET: at x=0.32, y=0.70 — the lower-left area of the plan (landmark, for reference: at the turning camper on the track entrance); the frame's LEFT edge cuts through at x=0.15, y=0.65 — the left edge area of the plan (landmark, for reference: on the grassy verge west of the track entrance) and its RIGHT edge through at x=0.45, y=0.55 — the center of the plan (landmark, for reference: on the open ground north of the main road)\n- E1 (turning camper van): circle at x=0.32, y=0.70 — the lower-left area of the plan (landmark, for reference: on the mountain track entrance curving off the main road), facing at x=0.38, y=0.50 — the center of the plan (landmark, for reference: uphill along the mountain access track to the north)", "geometry": { "entity_placements": [ { "slot": "E1", "subject_en": "turning camper van", "x": 0.32, "y": 0.7, "anchor_en": "on the mountain track entrance curving off the main road", "facing": { "x": 0.38, "y": 0.5 }, "facing_anchor_en": "uphill along the mountain access track to the north", "camera_facing_relation": "unspecified", "camera_facing_evidence": "" } ], "camera": { "origin": { "x": 0.5, "y": 0.88 }, "look_target": { "x": 0.32, "y": 0.7 }, "origin_anchor_en": "on the main road southeast of the mountain track junction", "look_target_anchor_en": "at the turning camper on the track entrance", "view_left": { "x": 0.15, "y": 0.65 }, "view_right": { "x": 0.45, "y": 0.55 }, "view_left_anchor_en": "on the grassy verge west of the track entrance", "view_right_anchor_en": "on the open ground north of the main road" }, "rationale_ko": "캠핑카는 멀리 있는 검문소(A4)를 피하기 위해 메인 도로(A1)를 주행하다 산길(A2)로 급격히 좌회전하며 진입합니다. 카메라는 회전 반경 바깥인 캠핑카의 우측 후방(남동쪽 도로 위)에 낮게 위치하여 북서쪽을 바라봅니다. 이 구도는 차량이 화면 우측 상단의 산길을 향해 코를 트는 역동적인 움직임을 포착하며, 후측면에서 흙먼지를 일으키며 도주하는 긴박한 액션을 서사의 맥락에 맞게 강조합니다." }, "geometry_attempts": 1, "leakage": { "has_marker_leakage": false, "details_ko": "다이어그램 기호나 텍스트 누출 없이 자연스러운 투시도로 그려짐." }, "prompt": "Draw a single CAMERA-VIEW storyboard frame (16:9) of the scene staged\non the attached MARKER-ANNOTATED TOP-DOWN SITE PLAN, seen from the\ncamera position marked on it.\n\nThe attached plan carries STAGING MARKERS drawn over it: a\ncamera-position marker with a field-of-view wedge (where the camera\nstands, which way it looks and how wide it sees) and one labelled\ncircle per subject with an arrow (where each subject stands and which\nway that subject is turned). Jurisdiction of sources — follow all three, they do not\nconflict:\n- The SITE PLAN under the markers is the SOT for what exists on the\n site and how its zones and landmarks are arranged relative to each\n other. The markers themselves are staging aids, NOT site content.\n- The markers on the plan are the SOT for XY POSITIONS, horizontal\n heading and body facing ONLY: where each subject stands on that\n plan, which way each one is turned, where the camera stands, which\n way it looks and how wide its wedge opens. Distances, directions\n and relative depths between subjects come from the marked\n positions; what the wedge covers is what this frame contains, and\n subjects outside the wedge are out of frame. The STAGING GEOMETRY\n text below restates the same staging with coarse normalized\n estimates — it never overrides the marked plan.\n- The CAMERA DIRECTION text below (when present) is the SOT for the\n VERTICAL angle, elevation, tilt and framing (eye-level, high angle,\n overhead crane, low angle, ...). If it asks for a high or overhead\n angle, draw that angle — the site plan being top-down does NOT mean\n the frame must be eye-level. It does NOT govern horizontal\n placement: which side of the frame a subject occupies and which way\n that subject is turned come from the marked plan and the staging\n text, even when that memo also mentions left, right, foreground or\n background.\n\nSTYLE — MANNEQUIN BLOCKING SKETCH: the lightest possible director's\nlayout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR LINES ONLY on pure\nwhite paper. Absolutely NO shading, NO tone, NO texture, NO grayscale\nfill, NO light-and-shadow, NO material rendering. It must read as a\nquick layout guide, never as a finished drawing.\n\nDraw every person as a PLAIN ARTIST'S MANNEQUIN: a featureless oval head\nwith NO face, NO hair, NO clothing and no costume detail — simple tapered\nlimbs and torso. Because the head has no face and no hair, the ONLY thing\nthat shows which way a figure is turned is the BODY ITSELF: the direction\nthe chest, hips and feet point, and the way the head-oval sits on the\nshoulders. Aim each mannequin's chest and feet at the spot the staging\ntext says that person faces, and let the arms carry the action. A\nmannequin turned to the wrong side is the single worst error in this\ndrawing. Environment is reduced to a few placement lines (ground line,\nkey landmark silhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow restate, marker by marker, the staging already marked on the\nattached plan: each landmark-relative description restates the\nmarker-map authority in words, and the normalized fractions in\nparentheses (x left→right 0..1, y top→bottom 0..1) are coarse audit\nestimates only — neither ever overrides the marked plan.\n\nThose fractions are TOP-DOWN bookkeeping. Never read them as left and\nright of your frame: on a plan seen from above, a subject \"to the\nright\" can sit on either side of a camera that looks any direction.\nEach subject line therefore ends with the SAME staging expressed from\nTHIS camera — which part of the frame the subject occupies, and which\nway that subject faces in screen terms (toward the left or right of\nthe frame, toward or away from the camera or side-on to it in\nprofile, and whom they are looking at). Those screen-space statements\nare what your drawing must match:\na figure said to face the right of the frame is turned to the right in\nyour drawing, never mirrored.\n\nDo NOT draw any of this data in the image — no numbers, no\ncoordinates, no labels, no arrows, no cones, no dots, no diagram\nsymbols of any kind.\n\nWhere the CAMERA DIRECTION text below also describes horizontal\nplacement (which side of the frame someone occupies, foreground left,\nbackground right), treat that as background reading only: for anything\nabout left, right and where a subject sits in this frame, the staging\nabove wins. CAMERA DIRECTION governs the vertical angle, elevation,\ntilt and framing.\n\nFor whether a subject faces the camera or is turned away from it, each\nsubject line above already states it in screen terms and the SHOT TEXT\nis the source it was derived from — draw exactly what the subject line\nsays, and never mirror it.\n- the camera stands on the main road southeast of the mountain track junction (coarse estimate x=0.50, y=0.88); its sight line ends at LOOK TARGET: at the turning camper on the track entrance (coarse estimate x=0.32, y=0.70); the frame's LEFT edge cuts through on the grassy verge west of the track entrance (coarse estimate x=0.15, y=0.65) and its RIGHT edge through on the open ground north of the main road (coarse estimate x=0.45, y=0.55) — everything between those two edges is in frame, anything outside them is out of frame\n- turning camper van stands on the mountain track entrance curving off the main road (coarse estimate x=0.32, y=0.70), facing uphill along the mountain access track to the north (coarse estimate x=0.38, y=0.50) — from this camera the subject is near the CENTER of the frame and faces toward the RIGHT of the frame and away from the camera, into the depth of the shot, so the camera sees this subject from behind\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): Track outside the turning arc at axle height, looking diagonally forward from the camper's rear quarter toward the mountain-road entrance in a direct exterior observation. Place the complete vehicle across the lower-middle frame at no more than roughly one third of the image, its nose swinging toward the upper-right entrance while both the turning body and wheels remain readable and earth dust bursts from the tires. Keep the distant checkpoint on the original road at upper-left and the occupants out of view, emphasizing the vehicle's change of position against a steady low viewing angle.\n\nTHE LOCATION: 화성 검문소를 우회하는 산길\n\nSHOT TEXT (authoritative, Korean): 캠핑카가 검문소를 앞두고 산길 쪽으로 차체가 급격히 꺾인 채 타이어에서 흙먼지가 뿜어져 나오는 mid-action 역동적인 순간.\n\nCARRIED STATE (persist exactly): The old camper carries the collected supplies and has unresolved roof and window-frame leaks from the previous rainstorm. A checkpoint lies ahead amid barren fields, dead trees and abandoned houses; Charlie occupies the rear seating area.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, head-oval and chest turned toward the target the\nSHOT TEXT implies; avoid a stiff attention stance (feet together, arms\nhanging straight down) and a head-oval squared flat to the lens. If the\nSHOT TEXT or any POSE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera look,\ndraw THAT exactly — this clause never overrides it.\n\nCRITICAL — THE SITE PLAN IS A STAGING REFERENCE, NOT CONTENT: do NOT\ndraw the plan itself, and do NOT draw any diagram elements in the\nframe — no circles, dots, wedges, cones, arrows, callouts, codes or\nany other overlay symbols. The output is a clean storyboard drawing\nof the scene as seen by the camera only.\n\nNo text, no letters, no numbers, no captions anywhere in the image.", "lane_sketch_pack": "16.202608252310", "lane_geometry_pack": "4.202607270248", "mannequin_chain_contract": "1", "asset_id": "1aacbaf1-b378-4a14-819e-511273cb3737" }, "S51sh23": { "lane": "structure_plate", "group_id": "bg_auto_repair_complex", "segment_id": "segment_02", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_auto_repair_complex_sel.png", "seed_asset_id": "e518cee8-6c42-4dbf-88e3-6e2ae23e7ad0", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L69B02.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S57sh10": { "lane": "structure_plate", "group_id": "bg_ruined_village_church", "segment_id": "seg_02", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_ruined_village_church_sel.png", "seed_asset_id": "390d0127-8678-4a11-846c-55ca44e9c904", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L77B01.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S57sh11": { "lane": "structure_plate", "group_id": "bg_ruined_village_church", "segment_id": "seg_03", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_ruined_village_church_sel.png", "seed_asset_id": "390d0127-8678-4a11-846c-55ca44e9c904", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L77B01.png", "bg_reason": "", "bypass_reason": "prev" }, "S61sh1": { "lane": "structure_plate", "group_id": "bg_swamp_mud_clearing", "segment_id": "seg_02", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_swamp_mud_clearing_sel.png", "seed_asset_id": "21b3c525-8f13-484a-9366-828766ce2823", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_swamp_mud_clearing_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S61sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_swamp_mud_clearing_sel.png" }, "S62sh2": { "lane": "structure_plate", "group_id": "bg_village_bonfire_clearing", "segment_id": "seg_01", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_village_bonfire_clearing_sel.png", "seed_asset_id": "476b4788-828b-41ae-bff5-dcf6666051ef", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_village_bonfire_clearing_sel.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S65sh17": { "lane": "structure_plate", "group_id": "bg_collapsed_department_store", "segment_id": "seg_02", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_collapsed_department_store_sel.png", "seed_asset_id": "9dcd2529-ce3b-4608-b19e-97c9ddf73437", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L100B01.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S65sh17.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L100B01.png" }, "S67sh75": { "lane": "structure_plate", "group_id": "bg_village_bonfire_clearing", "segment_id": "seg_03", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_village_bonfire_clearing_sel.png", "seed_asset_id": "476b4788-828b-41ae-bff5-dcf6666051ef", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_village_bonfire_clearing_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S67sh75.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_village_bonfire_clearing_sel.png" }, "S68sh4": { "lane": "structure_plate", "group_id": "bg_food_transport_fork", "segment_id": "fork_divergence", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_food_transport_fork_sel.png", "seed_asset_id": "3353276e-8593-44a0-8507-e9efa6680c2a", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_food_transport_fork_sel.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S68sh16": { "lane": "structure_plate", "group_id": "bg_food_transport_fork", "segment_id": "imagined_laboratory_approach", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_food_transport_fork_sel.png", "seed_asset_id": "3353276e-8593-44a0-8507-e9efa6680c2a", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_food_transport_fork_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S68sh16.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_food_transport_fork_sel.png" }, "S69sh2": { "lane": "structure_plate", "group_id": "bg_coastal_hill_overlook", "segment_id": "seg_1", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_coastal_hill_overlook_sel.png", "seed_asset_id": "3e51b6e9-6c91-4500-b642-35d55d0f8d22", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_coastal_hill_overlook_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S69sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_coastal_hill_overlook_sel.png" }, "S71sh25": { "lane": "structure_plate", "group_id": "bg_coastal_cliff_edge", "segment_id": "seg_03", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_coastal_cliff_edge_sel.png", "seed_asset_id": "028b3ce5-f561-4770-8eaa-0b953b434726", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_coastal_cliff_edge_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S71sh25.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_coastal_cliff_edge_sel.png" }, "S72sh38": { "lane": "structure_plate", "group_id": "bg_coastal_abandoned_laboratory", "segment_id": "seg_01", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_coastal_abandoned_laboratory_sel.png", "seed_asset_id": "c9eeddba-70be-466d-b8a1-f5b11b99ba19", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L111B01.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/089c4a91-4d48-420f-9ded-550269221fa0/conti/conti_S72sh38.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L111B01.png" }, "S72sh65": { "lane": "structure_plate", "group_id": "bg_coastal_abandoned_laboratory", "segment_id": "seg_01", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_coastal_abandoned_laboratory_sel.png", "seed_asset_id": "c9eeddba-70be-466d-b8a1-f5b11b99ba19", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L111B02.png", "bg_reason": "", "bypass_reason": "prev" }, "S78sh19": { "lane": "structure_plate", "group_id": "bg_harbor_pier", "segment_id": "seg_3", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_harbor_pier_sel.png", "seed_asset_id": "9a426850-70d6-481f-8da7-a212290aacfa", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_harbor_pier_sel.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S89sh38": { "lane": "structure_plate", "group_id": "bg_island_research_complex", "segment_id": "seg_rooftop", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/images/background_chain/seed_bg_island_research_complex_sel.png", "seed_asset_id": "65007d02-9a82-4f55-987f-29e526ed7aee", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L138B01.png", "bg_reason": "", "bypass_reason": "bg_only" } } }, "step_id": "shot_conti_light", "run_id": "eace1d8e-ae4b-44da-9b3e-955fd8880db9", "resolved_model": "gpt-image-2.5-sunburst", "updated_at": "2026-09-18T01:30:37.160827+00:00", "project_config_snapshot": {} }