{ "status": "completed", "applicable_count": 5, "completed_count": 5, "failed_count": 0, "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, "sketch_attempts": 1, "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/conti/lane_sketch_S2sh1.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/background_chain/canon_bg_wet_alley_intersection_map.png", "base_map_asset_id": "18b7b430-03f6-41d0-896e-a6d8b0b88efe", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/conti/lane_marker_map_S2sh1.png", "marker_check": { "markers_ok": true, "details_ko": "정상" }, "marker_prompt": "Edit the attached TOP-DOWN SITE PLAN image: draw STAGING MARKERS on it\nat the positions described below. This is a planning aid for a film\ncrew, drawn over the plan.\n\nPLACEMENT AUTHORITY: each marker line below places its marker relative\nto a fixed feature, zone or boundary VISIBLE on the attached plan —\nthat landmark-relative description is the placement authority. The\nnormalized fractions in parentheses are coarse estimates of the same\nspot (x runs left→right 0..1, y runs top→bottom 0..1 of the full\ncanvas) — use them only to confirm the rough region; when in doubt,\nthe landmark description wins. Do NOT relocate a marker onto a\ndifferent salient line or feature than the one its description names.\n\nNEVER move a marker to make the drawing fit. The camera circle and\nevery subject circle go exactly where their descriptions place them,\neven when that leaves the view wedge or an arrow running off the edge\nof the image — in that case just let the wedge or arrow continue to\nthe image border and stop there. Shifting the camera outward, pulling\na subject aside, or shrinking the wedge to keep it inside the canvas\nall break the plan this map exists to record.\n\nDraw EXACTLY these markers, flat and high-contrast, small enough not\nto hide the plan under them:\n- CAMERA: one filled circle at the camera position, labelled CAM, and\n out of that circle a FIELD-OF-VIEW WEDGE showing what this shot\n sees — two straight thin lines, one running toward each of the two\n frame-edge positions given below, and a third thinner line to the\n look-target position between them. Fill the area between the two\n edge lines with a light translucent tint so the wedge reads as the\n camera's view; the plan underneath must stay fully readable through\n the tint. Every subject listed below stands inside this wedge —\n if your drawing leaves one outside it, the wedge is drawn wrong,\n not the subject.\n- SUBJECTS: one filled circle per subject at its position, labelled\n with its slot code (E1, E2, ...) followed by its short description\n in parentheses, and one short ARROW leaving that circle toward the\n spot the subject faces, so the direction each subject is turned is\n readable at a glance.\n\nChange NOTHING else: keep every zone, landmark, line, label and color\nof the plan exactly as attached — do not redraw, recolor, move or\nremove anything, do not add scenery, shadows or any other symbols or\ntext beyond the markers, wedge, arrows and labels specified above. The\noutput is the SAME plan image with only these staging markers added.\n\nMARKERS TO DRAW:\n- CAM (camera): circle Near the southeast site boundary, diagonally beyond the plan-southeast intersection corner. (coarse estimate x=0.88, y=0.88); its sight line ends at LOOK TARGET: At the exact center of the central four-way alley junction. (coarse estimate x=0.50, y=0.50); the frame's LEFT edge cuts through At the outer end of the plan-south alley approach near the site boundary. (coarse estimate x=0.49, y=0.95) and its RIGHT edge through At the outer end of the plan-east alley approach near the site boundary. (coarse estimate x=0.93, y=0.49)\n- E1 (side-lying elderly man): circle At the exact center of the central four-way alley junction. (coarse estimate x=0.50, y=0.50), facing On the eastern half of the central alley junction near the plan-east approach. (coarse estimate x=0.58, y=0.50)\n\n[REGENERATE — the previous attempt failed the marker check: E1 피사체 마커가 카메라의 시야각(웨지) 영역 바깥에 위치해 있습니다.. Draw exactly the specified markers and change nothing else on the plan.]", "geometry": { "entity_placements": [ { "slot": "E1", "subject_en": "side-lying elderly man", "x": 0.5, "y": 0.5, "anchor_en": "At the exact center of the central four-way alley junction.", "facing": { "x": 0.58, "y": 0.5 }, "facing_anchor_en": "On the eastern half of the central alley junction near the plan-east approach.", "camera_facing_relation": "unspecified", "camera_facing_evidence": "" } ], "camera": { "origin": { "x": 0.88, "y": 0.88 }, "look_target": { "x": 0.5, "y": 0.5 }, "origin_anchor_en": "Near the southeast site boundary, diagonally beyond the plan-southeast intersection corner.", "look_target_anchor_en": "At the exact center of the central four-way alley junction.", "view_left": { "x": 0.49, "y": 0.95 }, "view_right": { "x": 0.93, "y": 0.49 }, "view_left_anchor_en": "At the outer end of the plan-south alley approach near the site boundary.", "view_right_anchor_en": "At the outer end of the plan-east alley approach near the site boundary." }, "rationale_ko": "노인을 사거리의 정확한 중심에 고립된 작은 형상으로 배치했다. 카메라는 남동쪽 대각선 방향에서 중앙을 내려다보며, 넓은 화각 안에 중앙 교차부와 네 갈래 접근로가 퍼져 보이도록 설정했다." }, "geometry_attempts": 1, "leakage": { "has_marker_leakage": false, "details_ko": "도면 기호나 텍스트 누출 없이 지정된 카메라 방향에 맞게 정상적으로 렌더링된 장면입니다." }, "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 Near the southeast site boundary, diagonally beyond the plan-southeast intersection corner. (coarse estimate x=0.88, y=0.88); its sight line ends at LOOK TARGET: At the exact center of the central four-way alley junction. (coarse estimate x=0.50, y=0.50); the frame's LEFT edge cuts through At the outer end of the plan-south alley approach near the site boundary. (coarse estimate x=0.49, y=0.95) and its RIGHT edge through At the outer end of the plan-east alley approach near the site boundary. (coarse estimate x=0.93, y=0.49) — everything between those two edges is in frame, anything outside them is out of frame\n- side-lying elderly man stands At the exact center of the central four-way alley junction. (coarse estimate x=0.50, y=0.50), facing On the eastern half of the central alley junction near the plan-east approach. (coarse estimate x=0.58, y=0.50) — from this camera the subject is near the CENTER of the frame and faces toward the RIGHT of the frame and toward the camera, so the camera sees this subject from the front\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): Hold an elevated oblique wide view from above one corner of the four-way intersection before beginning the crane descent, placing the elderly man as a small isolated figure at the exact visual center. The four roads spread toward the frame edges while his side-lying body and fallen cane remain clearly separated against the wet pavement beneath the flickering streetlamp.\n\nTHE LOCATION: 젖은 골목길과 가로등이 있는 사거리 갈래길\n\nSHOT TEXT (authoritative, Korean): 켜진 가로등 불빛이 흔들리는 젖은 사거리 한가운데에 노인이 눈을 감고 누워 있는 전경.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, head-oval and chest turned toward the target the\nSHOT TEXT implies; avoid a stiff attention stance (feet together, arms\nhanging straight down) and a head-oval squared flat to the lens. If the\nSHOT TEXT or any POSE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera look,\ndraw THAT exactly — this clause never overrides it.\n\nCRITICAL — THE SITE PLAN IS A STAGING REFERENCE, NOT CONTENT: do NOT\ndraw the plan itself, and do NOT draw any diagram elements in the\nframe — no circles, dots, wedges, cones, arrows, callouts, codes or\nany other overlay symbols. The output is a clean storyboard drawing\nof the scene as seen by the camera only.\n\nNo text, no letters, no numbers, no captions anywhere in the image.", "lane_sketch_pack": "15.202608251258", "lane_geometry_pack": "4.202607270248", "mannequin_chain_contract": "1", "asset_id": "8cbc410b-e3f0-4fb2-aed0-c9d5d3d516ff" } } }, "step_id": "shot_conti_light", "run_id": "68fe18bf-24da-4201-8696-b6e10136a4f5", "resolved_model": "gpt-image-2", "updated_at": "2026-08-25T13:07:27.962476+00:00", "project_config_snapshot": {} }