{ "S2sh1": { "input_fingerprint": "f1d11897114785cc", "geometry": { "entity_placements": [ { "slot": "E1", "subject_en": "unconscious elderly man", "x": 0.5, "y": 0.5, "anchor_en": "At the exact center of the central four-way alley junction.", "facing": { "x": 0.62, "y": 0.5 }, "facing_anchor_en": "On the inner plan-east alley approach just east of the central junction.", "camera_facing_relation": "unspecified", "camera_facing_evidence": "" }, { "slot": "E2", "subject_en": "fallen walking cane", "x": 0.56, "y": 0.53, "anchor_en": "Just southeast of the center of the central four-way alley junction.", "facing": { "x": 0.62, "y": 0.57 }, "facing_anchor_en": "Near the southeast edge of the central four-way alley junction.", "camera_facing_relation": "unspecified", "camera_facing_evidence": "" } ], "camera": { "origin": { "x": 0.76, "y": 0.78 }, "look_target": { "x": 0.5, "y": 0.5 }, "origin_anchor_en": "Elevated over the plan-southeast intersection corner southeast of the streetlamp.", "look_target_anchor_en": "At the exact center of the central four-way alley junction.", "view_left": { "x": 0.18, "y": 0.43 }, "view_right": { "x": 0.58, "y": 0.08 }, "view_left_anchor_en": "On the outer part of the plan-west alley approach.", "view_right_anchor_en": "On the outer part of the plan-north alley approach." }, "rationale_ko": "노인을 사거리의 정확한 중심에 작게 고립시키고, 지팡이는 남동쪽에 분리해 놓았다. 카메라는 가로등이 있는 남동 모서리 위에서 중심을 내려다보며, 서쪽과 북쪽 접근로까지 포함하는 넓은 사선 화각으로 네 갈래 구조를 강조한다." }, "marker_check": { "markers_ok": true, "details_ko": "정상", "violations": [] }, "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=0.76, y=0.78 — the lower-right area of the plan (landmark, for reference: Elevated over the plan-southeast intersection corner southeast of the streetlamp.); its sight line ends at LOOK TARGET: at x=0.50, y=0.50 — the center of the plan (landmark, for reference: At the exact center of the central four-way alley junction.); the frame's LEFT edge cuts through at x=0.18, y=0.43 — the left edge area of the plan (landmark, for reference: On the outer part of the plan-west alley approach.) and its RIGHT edge through at x=0.58, y=0.08 — the upper middle of the plan (landmark, for reference: On the outer part of the plan-north alley approach.)\n- E1 (unconscious elderly man): circle at x=0.50, y=0.50 — the center of the plan (landmark, for reference: At the exact center of the central four-way alley junction.), facing at x=0.62, y=0.50 — the center of the plan (landmark, for reference: On the inner plan-east alley approach just east of the central junction.)\n- E2 (fallen walking cane): circle at x=0.56, y=0.53 — the center of the plan (landmark, for reference: Just southeast of the center of the central four-way alley junction.), facing at x=0.62, y=0.57 — the center of the plan (landmark, for reference: Near the southeast edge of the central four-way alley junction.)", "marker_attempts": 3, "marker_best_effort": false, "marker_pick_index": null, "marker_pick_count": null, "marker_pick_why_ko": null, "marker_model": null, "marker_map_sha256": "5eef9321c9701ac8441a75c6ee693ae188c1c256cdb9ad995ee68d32d92129e1", "leakage": { "has_marker_leakage": false, "details_ko": "마커, 기호, 텍스트가 없습니다. 3D 투시가 적용된 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 Elevated over the plan-southeast intersection corner southeast of the streetlamp. (coarse estimate x=0.76, y=0.78); 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 On the outer part of the plan-west alley approach. (coarse estimate x=0.18, y=0.43) and its RIGHT edge through On the outer part of the plan-north alley approach. (coarse estimate x=0.58, y=0.08) — everything between those two edges is in frame, anything outside them is out of frame\n- unconscious 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 inner plan-east alley approach just east of the central junction. (coarse estimate x=0.62, 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- fallen walking cane stands Just southeast of the center of the central four-way alley junction. (coarse estimate x=0.56, y=0.53), facing Near the southeast edge of the central four-way alley junction. (coarse estimate x=0.62, y=0.57) — from this camera the subject is near the CENTER of the frame and faces 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." } }