{ "status": "partial", "applicable_count": 5, "completed_count": 4, "failed_count": 1, "schema_version": 3, "config_hash": "41e2685abfb86752", "data": { "contis": { "S1sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/conti/conti_S1sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/episodes/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/images/background_chain/L01B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Just inside the entrance of a narrow bicycle repair workshop, beside the door opening to the alley. A single overhead fluorescent light illuminates the cramped interior.\n\nSHOT TEXT (authoritative, Korean): 한 손에 손전등을 쥐고 좁은 정비소 문을 민 채 안으로 한 걸음을 내디딘 자세의 연희 상체.\n\nCARRIED STATE (persist exactly): Yeon-hee wears the yellow raincoat, holds the flashlight, and has wet shoulders. Until Min-soo sets it down, he remains by the upside-down bicycle holding the wrench with greasy fingers; the toolbox is open on the workbench.\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 garage at chest height and offset beside the doorway, track with Yeonhee in a tight upper-body three-quarter view as she pushes the door with one hand and transfers her weight through her first step. Keep her door hand at the left edge and the flashlight low in the opposite hand, while her face and gaze angle past the camera toward Minsu deeper inside the garage.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 연희 in the middle-center of the frame, midground, moves toward garage interior; open garage doorway in the middle-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: 정비소 문 (연희가 밀어 열고 있는 상태) — The interior-facing edge and partially opened door plane angle away from the camera toward the entrance; used as Frames the left side of Yeonhee's upper body and preserves the threshold she is crossing; 기름때 묻은 작업대와 열린 공구 상자 (작업대에 기름때가 묻어 있고 공구 상자가 열려 있음) — The work surface and the open interior of the toolbox are visible deeper inside the garage; used as Provides a restrained background reference for Yeonhee's eyeline into the workspace; 거꾸로 세워진 낡은 자전거 (낡았으며 거꾸로 세워져 있음) — Its inverted frame is seen obliquely beyond Yeonhee rather than square to camera; used as Adds depth without obstructing Yeonhee's face or forward step.\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/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/episodes/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/images/background_chain/L01B01.png" ], [ "char:연희", "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/reference/22191266-31c8-4742-83dd-afca5f54456f.png" ] ], "asset_id": "5859cee9-5e7d-4c59-87e5-a7041cbc847e" }, "S1sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/conti/conti_S1sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/episodes/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/images/background_chain/L01B01.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 compact work area of a narrow bicycle repair workshop, facing the entrance from beside the workbench and inverted bicycle. The interior is lit by one hanging fluorescent light.\n\nSHOT TEXT (authoritative, Korean): 고개를 치켜든 채 문가에 선 연희의 얼굴을 똑바로 마주 보고 있는 민수.\n\nCARRIED STATE (persist exactly): Yeon-hee still wears the wet yellow raincoat and retains the flashlight at the doorway. Min-soo is standing in his navy coveralls, and the wrench he had been holding now lies on the workbench beside the open toolbox and upside-down bicycle.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold static at Yeonhee's shoulder height just behind and beside her, using only her near shoulder as a soft foreground edge while leaving Minsu's lifted face unobstructed across the narrow garage. Minsu remains bent near the bicycle in the midground, chin raised and eyes locked on Yeonhee, so the changed emphasis is their shared eyeline rather than a change in camera distance.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 연희 in the middle-left of the frame, foreground, looks toward 민수 across the garage; 민수 in the middle-right of the frame, midground, looks toward 연희 at the doorway.\n- KEY BACKGROUND ELEMENTS: 거꾸로 세워진 낡은 자전거 (낡았으며 거꾸로 세워져 있음) — The bicycle is viewed from an oblique side, with its chain area nearest Minsu; used as Locates Minsu in his interrupted repair posture beneath his lifted face; 기름때 묻은 작업대와 열린 공구 상자 (작업대에 기름때가 묻어 있고 공구 상자가 열려 있음) — The work surface and open toolbox interior face partly toward the camera behind Minsu; used as Supports the depth of the narrow garage while leaving the eyeline corridor clear; 정비소 문 (연희가 들어선 뒤 열린 상태) — The doorway plane sits immediately beside Yeonhee, with the opening extending behind her; used as Defines Yeonhee's position at the entrance without blocking Minsu.\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/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/episodes/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/images/background_chain/L01B01.png" ], [ "char:민수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/reference/58e35af5-f982-44eb-8e17-41d82d5d2918.png" ], [ "char:연희", "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/reference/22191266-31c8-4742-83dd-afca5f54456f.png" ] ], "asset_id": "157bd804-3c3f-43c2-b162-99a0fadcac45" }, "S2sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S2sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/conti/conti_S3sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/episodes/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/images/background_chain/L01B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In a cleared patch of floor inside the narrow bicycle repair workshop, beside the workbench that has been pushed to one side. A single overhead fluorescent light shines on the blanket-covered person and the crouching helper.\n\nSHOT TEXT (authoritative, Korean): 한쪽으로 밀려난 작업대 옆, 형광등 불빛 아래 담요를 덮고 누운 노인과 그 곁에 쪼그려 앉은 민수의 전경.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man is reclined horizontally in the cleared space under the fluorescent light, with his eyes closed and a blanket covering him. The text does not specify the orientation of his body, the position of his head, or the exact arrangement of his limbs beneath the blanket.\n\nCARRIED STATE (persist exactly): The workbench has been pushed to one side, while the elderly man is reclined horizontally in the cleared space under the fluorescent light, with his eyes closed and a blanket covering him. Min-soo remains crouched beside him; Yeon-hee retains her flashlight and yellow raincoat at the doorway.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From beside the displaced workbench at a slightly elevated oblique angle, hold a medium-wide view looking diagonally down across crouching Minsu toward the elderly man under the fluorescent light. Place Minsu in the lower foreground and the blanket-covered elderly man across the midground, preserving enough cleared floor around them to show how the workspace has been rearranged.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 민수 in the lower-left of the frame, foreground, looks toward 노인 beside him; 노인 in the middle-right of the frame, midground; displaced workbench in the upper-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: 한쪽으로 밀린 작업대 (자리를 만들기 위해 한쪽으로 밀려 있음) — Its long side angles away beside the camera position, leaving an open floor area toward the elderly man; used as Frames one edge of the reorganized workspace and reveals the cleared area; 천장 형광등 (불빛이 켜져 있음) — The hanging fixture is seen above the area where the elderly man lies; used as Provides a visible overhead spatial anchor without occupying the center of the composition; 담요 (노인의 몸을 덮고 있음); used as Defines the elderly man's resting area and separates his form from the cleared floor.\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/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/episodes/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/images/background_chain/L01B02.png" ], [ "char:민수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/reference/58e35af5-f982-44eb-8e17-41d82d5d2918.png" ], [ "char:노인", "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/reference/ec76e72b-91f2-45f6-868f-fafce6112f97.png" ] ], "asset_id": "34486c34-5755-45bf-af36-c4d2f2d7e6dc" }, "S3sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/conti/conti_S3sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/episodes/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/images/background_chain/L01B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the interior side of the narrow bicycle repair workshop doorway, looking out through the open door toward the dark alley. The workshop behind the threshold is lit by the overhead fluorescent light.\n\nSHOT TEXT (authoritative, Korean): 문가에 선 연희가 열린 문 밖의 어두운 골목 쪽으로 시선을 고정한 채 서 있는 옆얼굴.\n\nCARRIED STATE (persist exactly): The old man remains lying under the blanket with his eyes closed beside the displaced workbench, and Min-soo remains crouched near him. At the doorway, Yeon-hee still wears the yellow raincoat and holds the flashlight, toggling it while watching the alley.\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 track settles just inside the open doorway at Yeonhee's shoulder height, close to her interior-side profile and slightly behind her, with her face occupying the left half and a narrow corridor of the alley remaining visible on the right. Her thumb pauses over the flashlight switch while her weight inclines toward the opening, but her eyes remain fixed beyond the doorway rather than toward the camera.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 연희 in the middle-left of the frame, foreground, looks toward alley beyond the open doorway; alley beyond the open doorway in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 열린 정비소 문 (열린 상태) — The interior edge of the open doorway runs beside Yeonhee, revealing a narrow view outward; used as Frames her profile and channels her eyeline into the alley; 문 밖 골목 (어두운 상태); used as Remains as a narrow background strip along Yeonhee's fixed gaze.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/episodes/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/images/background_chain/L01B02.png" ], [ "char:연희", "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/reference/22191266-31c8-4742-83dd-afca5f54456f.png" ] ], "asset_id": "780d9007-407c-4d22-b4d3-016800782832" } }, "map_conti": {}, "conti_pack": "5.202607222353", "lane_conti": { "S2sh1": { "lane": "map_marker", "group_id": "bg_wet_alley_intersection", "segment_id": "SEG_01", "marker_attempts": 3, "status": "failed", "error": "marker map check 3회 소진: 카메라 시야각(FOV) 부채꼴이 피사체가 있는 방향(남동쪽)이 아닌 반대 방향(북서쪽)으로 열려 있습니다.", "marker_check": { "markers_ok": false, "details_ko": "카메라 시야각(FOV) 부채꼴이 피사체가 있는 방향(남동쪽)이 아닌 반대 방향(북서쪽)으로 열려 있습니다." } } } }, "step_id": "shot_conti_light", "run_id": "90ddcf4b-03a7-47b5-929f-f04241c9e116", "resolved_model": "gpt-image-2", "updated_at": "2026-08-25T12:04:50.258562+00:00", "project_config_snapshot": {} }