{ "S1sh2::confined_fp_apt": { "applies": false, "reason_ko": "이 샷은 자전거 정비소 내부를 배경으로 하고 있으며, 조종석이나 승무원 탑승 공간과 같이 좌석 배치나 조작 장치의 위치가 중요한 통제 중심의 공간이 아닙니다. 일반적인 실내 공간이므로 평면도 배치가 필수적이지 않습니다.", "input_fingerprint": "6f3aa05e4292f3d3" }, "S1sh2::signage": { "fp": "c6f6f8bd9200fc49", "inscriptions": [ { "surface_native": "정비소 유리문", "text_native": "자전거 수리", "reason_ko": "좁고 어두운 정비소 입구라는 공간적 정체성을 사실적으로 드러내기 위해 문 유리창에 붙은 안내 문구가 필요합니다." } ] }, "era_assess::d7510724eae6d9c2": { "subjects": [ { "subject_native": "한국의 골목길 오래된 자전거 수리점(자전거포) 내부", "search_terms_native": [ "골목길 자전거포", "자전거 수리점 내부", "동네 자전거포" ], "language_lock_native": "모든 검색어와 지시사항은 반드시 한국어로만 작성해야 하며 영어나 다른 언어를 추가해서는 안 됩니다.", "reason_ko": "한국의 오래된 골목길에 위치한 자전거포의 비좁고 도구로 가득 찬 독특한 내부 모습과 출입구 분위기는 일반적인 현대식 자전거 매장과 형태가 매우 다릅니다." } ], "subject_text": "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." }, "era_ref::d02b15fd960355c1": { "subject": "한국의 골목길 오래된 자전거 수리점(자전거포) 내부", "terms": [ "골목길 자전거포", "자전거 수리점 내부", "동네 자전거포" ], "queries": [ [ "한국 골목길 오래된 자전거포 내부 자전거 수리점", "동네 자전거포 내부 자전거 수리 공구" ] ], "candidates": 4, "picked_index": 1, "picked_url": "https://onthegrid.city/imager/s3_amazonaws_com/onthegrid.city/assets/grid/seoul/sangsu/dooboogong/IMG_7925-2_299006722e285f47655d17d1c9136337.jpg", "picked_reason_ko": "수리점 내부의 공간감, 진열 방식, 작업대의 위치 등이 가장 넓은 시야로 명확하게 담겨 있어 형태를 참고하기에 가장 적합한 사진입니다.", "verdicts": [ { "index": 1, "usable": true, "score": 92, "reason_ko": "자전거 수리점 내부의 전반적인 구조, 창문, 작업 공간의 배치가 매우 넓고 명확하게 잘 보입니다." }, { "index": 2, "usable": true, "score": 75, "reason_ko": "수리 공간과 공구 배치는 보이나 앵글이 제한적이어서 전체적인 공간 파악이 약간 어렵습니다." }, { "index": 3, "usable": true, "score": 55, "reason_ko": "자전거와 부품들이 화면의 대부분을 가리고 있어 실내 구조를 파악하기에는 부적합합니다." }, { "index": 4, "usable": true, "score": 82, "reason_ko": "부품 진열과 천장 등 내부 모습이 잘 보이지만 공간의 전체적인 구조적 맥락은 1번보다 다소 약합니다." } ], "candidate_urls": [ "https://onthegrid.city/imager/s3_amazonaws_com/onthegrid.city/assets/grid/seoul/sangsu/dooboogong/IMG_7925-2_299006722e285f47655d17d1c9136337.jpg", "https://www.ujeil.com/news/photo/202107/279654_116529_5358.jpg", "https://onthegrid.city/imager/s3_amazonaws_com/onthegrid.city/assets/grid/seoul/sangsu/dooboogong/IMG_8052_299006722e285f47655d17d1c9136337.jpg", "https://onthegrid.city/imager/s3_amazonaws_com/onthegrid.city/assets/grid/seoul/sangsu/dooboogong/IMG_8045_299006722e285f47655d17d1c9136337.jpg" ], "sha256": "d005bec27adf680f505d8f04587a05c267bd8f6b734070a615358116a9257dcf", "file": "eraref_d02b15fd960355c1.png" }, "S1sh2::bgfirst_bg": { "input_fingerprint": "c55098000a742ae4", "prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nSHOT TEXT this background must serve (Korean): 한 손에 손전등을 쥐고 좁은 정비소 문을 민 채 안으로 한 걸음을 내디딘 자세의 연희 상체.\n\nLOCATION (lock): 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\nTIME OF DAY (lock): evening.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Restrained, slightly desaturated ambient light appropriate to the evening garage, with moderate low-key contrast and clear texture on Yeonhee's wet shoulder.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. Signage and other writing that permanently belongs to this place may appear, in the place's native language and period style; no captions, watermarks or overlay text.\n\nPERIOD REFERENCE — 한국의 골목길 오래된 자전거 수리점(자전거포) 내부: a researched photograph of the real\nthing. Copy its era-accurate form, proportions, materials, fittings\nand styling exactly. It decides ONLY what this thing looks like —\nnever the composition, framing, lighting, people or their placement.", "effective_prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nSHOT TEXT this background must serve (Korean): 한 손에 손전등을 쥐고 좁은 정비소 문을 민 채 안으로 한 걸음을 내디딘 자세의 연희 상체.\n\nLOCATION (lock): 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\nTIME OF DAY (lock): evening.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Restrained, slightly desaturated ambient light appropriate to the evening garage, with moderate low-key contrast and clear texture on Yeonhee's wet shoulder.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. Signage and other writing that permanently belongs to this place may appear, in the place's native language and period style; no captions, watermarks or overlay text.\n\nPERIOD REFERENCE — 한국의 골목길 오래된 자전거 수리점(자전거포) 내부: a researched photograph of the real\nthing. Copy its era-accurate form, proportions, materials, fittings\nand styling exactly. It decides ONLY what this thing looks like —\nnever the composition, framing, lighting, people or their placement.", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/scene/recipe/S1sh2__bgfirst_bg.png", "asset_id": "50c480e1-8780-4c5f-ada1-389dcab255fb", "input_asset_ids": [ "5859cee9-5e7d-4c59-87e5-a7041cbc847e", "b9d3842a-32e3-4983-9ebb-d5b8916c6bfc" ], "era_research": { "subject": "한국의 골목길 오래된 자전거 수리점(자전거포) 내부", "queries": [ [ "한국 골목길 오래된 자전거포 내부 자전거 수리점", "동네 자전거포 내부 자전거 수리 공구" ] ], "picked_url": "https://onthegrid.city/imager/s3_amazonaws_com/onthegrid.city/assets/grid/seoul/sangsu/dooboogong/IMG_7925-2_299006722e285f47655d17d1c9136337.jpg", "sha256": "d005bec27adf680f505d8f04587a05c267bd8f6b734070a615358116a9257dcf", "file": "eraref_d02b15fd960355c1.png" } }, "S1sh2": { "input_fingerprint": "d6aeda8088756723", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 한 손에 손전등을 쥐고 좁은 정비소 문을 민 채 안으로 한 걸음을 내디딘 자세의 연희 상체.\n\nLOCATION (lock): 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. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Restrained, slightly desaturated ambient light appropriate to the evening garage, with moderate low-key contrast and clear texture on Yeonhee's wet shoulder.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 연희 right now, so 연희's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 연희: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else. Nothing else of them needs to be in shot; the framing stays on the object.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인 여성 얼굴, 20대의 젊은 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 정비소 유리문: \"자전거 수리\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.", "roll_prompts": { "A": "Stage the shot inside a tight, built interior. The FIRST attached image (SHOT BACKGROUND) is the finished empty interior of this shot, and in a space this cramped its geometry is the truth of the shot — keep it EXACTLY: its camera, perspective, every panel, control, seat, mirror, window and fixture stay untouched, in the same place, at the same angle, in the same number.\n\nBefore you place anyone, count what the background shows: how many steering wheels or control surfaces, how many seats and which way each faces, where each mirror sits and what it could reflect from this camera. Those counts and placements are what you must still be able to make after the people are in. Adding a second rim, sliding a seat, turning a mirror or growing a new panel is a failure even when the person looks right.\n\nThe SECOND attached image (LAYOUT SKETCH) tells you where the people go: each sketched person's position, screen size, pose and the gaze/motion arrows. Its background lines are not decoration — they are the same structure seen in line form, so use them to place each person correctly with respect to it: which seat the body occupies, which side of the wheel the hands are on, what the body passes in front of and what it passes behind. Where sketch and background disagree about the structure itself, the background wins.\n\nThe CHARACTER REFERENCE photographs show the real people.\n\nPlace the real people into the background at exactly the sketched positions, sizes and poses, following the arrow directions. A person may cover part of the structure — that is expected, and covering is not redrawing. What the body hides stays hidden; what remains visible stays exactly as the background had it. No sketch lines or arrows may remain.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 한 손에 손전등을 쥐고 좁은 정비소 문을 민 채 안으로 한 걸음을 내디딘 자세의 연희 상체.\n\nLOCATION (lock): 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. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Restrained, slightly desaturated ambient light appropriate to the evening garage, with moderate low-key contrast and clear texture on Yeonhee's wet shoulder.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 연희 right now, so 연희's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 연희: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else. Nothing else of them needs to be in shot; the framing stays on the object.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인 여성 얼굴, 20대의 젊은 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 정비소 유리문: \"자전거 수리\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.", "B": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 한 손에 손전등을 쥐고 좁은 정비소 문을 민 채 안으로 한 걸음을 내디딘 자세의 연희 상체.\n\nLOCATION (lock): 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. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Restrained, slightly desaturated ambient light appropriate to the evening garage, with moderate low-key contrast and clear texture on Yeonhee's wet shoulder.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 연희 right now, so 연희's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 연희: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else. Nothing else of them needs to be in shot; the framing stays on the object.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인 여성 얼굴, 20대의 젊은 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 정비소 유리문: \"자전거 수리\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, but reframe like a film director choosing a different setup — a different angle, height, distance or foreground layer from the obvious one. For this candidate only, treat the CAMERA & FRAME contract above as a baseline to depart from, not a lock; the references and the shot text fix WHAT is seen, not WHERE the camera stands. Stay true to any explicit framing the SHOT TEXT itself dictates." }, "roll_refs": { "A": [ { "label": "SHOT BACKGROUND", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/scene/recipe/S1sh2__bgfirst_bg.png", "asset_id": "50c480e1-8780-4c5f-ada1-389dcab255fb", "role": "bgfirst_bg" }, { "label": "LAYOUT SKETCH (people placement AND the structure they sit inside — the sketched panels, seats, controls and openings are the same ones the background photograph shows, drawn as lines; read them to place each body correctly against that structure, and where the two disagree about the structure itself the background photograph wins)", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/conti/conti_S1sh2.png", "asset_id": "5859cee9-5e7d-4c59-87e5-a7041cbc847e", "role": "conti_light" }, { "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "6cb0dd0a-53a9-474c-936d-5756571b82b4", "role": "character_ref" }, { "label": "PROP REFERENCE — 휴대용 손전등: the exact object appearing in this shot; match its look, material and wear exactly.", "path": "", "asset_id": "4fa5b417-bedc-4251-94c7-3293a5d488c8", "role": "prop_ref" } ], "B": [ { "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/episodes/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/images/background_chain/L01B01.png", "asset_id": "b9d3842a-32e3-4983-9ebb-d5b8916c6bfc", "role": "location_plate" }, { "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "6cb0dd0a-53a9-474c-936d-5756571b82b4", "role": "character_ref" }, { "label": "PROP REFERENCE — 휴대용 손전등: the exact object appearing in this shot; match its look, material and wear exactly.", "path": "", "asset_id": "4fa5b417-bedc-4251-94c7-3293a5d488c8", "role": "prop_ref" } ] }, "shot_run_spend_attempt_count": 1, "judge_flip": { "forward_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 9, "verdict_ko": "한 손으로 문을 밀고 다른 손으로 손전등을 든 채 안으로 들어서는 프롬프트의 핵심 동작과 구도를 훌륭하게 구현했습니다." }, { "label": "A", "score": 6, "verdict_ko": "인물과 배경의 질감은 좋으나, 문을 미는 핵심 행동이 누락되었고 문이 닫혀 있는 것처럼 보입니다." } ], "readings": [ { "label": "B", "direction": "연희의 시선은 정비소 내부를 향하고 있으며, 왼손의 손전등은 앞을 비추고 오른손은 문 가장자리를 향해 힘을 가하고 있습니다.", "built_space": "위치 참조 사진과 일치하는 좁은 정비소 내부입니다. 왼쪽에 열린 문이 있고, 안쪽에 작업대와 공구함, 우측에 거꾸로 세워진 자전거가 올바르게 배치되어 있습니다.", "entities": "연희의 외모, 젖은 노란색 우비, 손전등 모두 참조와 일치합니다. 유리문에는 '자전거 수리'라는 텍스트가 정확히 표기되어 있습니다.", "hard_violations": [], "physics": "오른손으로 문을 지탱하며 밀고, 왼손으로 손전등을 쥐고 안으로 들어서는 체중 이동과 자세가 자연스럽게 구현되었습니다." }, { "label": "A", "direction": "연희의 시선은 정비소 안쪽을 향하며, 손전등은 아래쪽을 향해 있습니다. 문을 쳐다보거나 향하지 않습니다.", "built_space": "왼쪽에 유리문이 있고 안쪽에 작업대와 거꾸로 선 자전거가 있습니다. 하지만 문이 닫혀 있는 상태로 보입니다.", "entities": "연희의 인물 형태와 우비는 참조를 잘 따랐으며, 유리문에 '자전거 수리' 텍스트가 렌더링되었습니다.", "hard_violations": [], "physics": "손전등을 쥐고 서 있는 자세는 안정적이나, 프롬프트가 요구한 '문을 미는' 동작이나 문과의 접촉은 전혀 묘사되지 않았습니다." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "forward_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 9, "verdict_ko": "한 손으로 문을 밀고 다른 손으로 손전등을 든 채 안으로 들어서는 프롬프트의 핵심 동작과 구도를 훌륭하게 구현했습니다." }, { "label": "A", "score": 6, "verdict_ko": "인물과 배경의 질감은 좋으나, 문을 미는 핵심 행동이 누락되었고 문이 닫혀 있는 것처럼 보입니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "연희의 시선은 정비소 내부를 향하고 있으며, 왼손의 손전등은 앞을 비추고 오른손은 문 가장자리를 향해 힘을 가하고 있습니다.", "built_space": "위치 참조 사진과 일치하는 좁은 정비소 내부입니다. 왼쪽에 열린 문이 있고, 안쪽에 작업대와 공구함, 우측에 거꾸로 세워진 자전거가 올바르게 배치되어 있습니다.", "entities": "연희의 외모, 젖은 노란색 우비, 손전등 모두 참조와 일치합니다. 유리문에는 '자전거 수리'라는 텍스트가 정확히 표기되어 있습니다.", "hard_violations": [], "physics": "오른손으로 문을 지탱하며 밀고, 왼손으로 손전등을 쥐고 안으로 들어서는 체중 이동과 자세가 자연스럽게 구현되었습니다." }, { "label": "A", "direction": "연희의 시선은 정비소 안쪽을 향하며, 손전등은 아래쪽을 향해 있습니다. 문을 쳐다보거나 향하지 않습니다.", "built_space": "왼쪽에 유리문이 있고 안쪽에 작업대와 거꾸로 선 자전거가 있습니다. 하지만 문이 닫혀 있는 상태로 보입니다.", "entities": "연희의 인물 형태와 우비는 참조를 잘 따랐으며, 유리문에 '자전거 수리' 텍스트가 렌더링되었습니다.", "hard_violations": [], "physics": "손전등을 쥐고 서 있는 자세는 안정적이나, 프롬프트가 요구한 '문을 미는' 동작이나 문과의 접촉은 전혀 묘사되지 않았습니다." } ] }, "reverse_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 7, "verdict_ko": "문을 잡고 들어오는 핵심 동작과 소품의 방향을 정확히 묘사했으며, 배경 요소의 배치도 지시문에 부합합니다." }, { "label": "B", "score": 3, "verdict_ko": "문을 미는 동작이 완전히 생략되었고, 손전등을 뒤집어 쥔 채로 묘사되어 기능적 고증과 연출 지시를 심각하게 위반했습니다." } ], "readings": [ { "label": "A", "direction": "연희의 시선과 손전등 빛이 정비소 안쪽을 올바르게 향함.", "built_space": "좌측에 열린 문, 우측에 작업대와 공구함, 안쪽에 뒤집힌 자전거가 요구된 대로 배치됨.", "entities": "인물 외모와 우비, 손전등이 참조와 일치하며 문에 '자전거 수리' 텍스트가 렌더링됨.", "hard_violations": [], "physics": "발로 바닥을 딛고 왼손으로 문 가장자리를, 오른손으로 손전등을 쥐고 물리적으로 안정된 상태임." }, { "label": "B", "direction": "시선은 앞을 향하나, 손전등의 렌즈(기능부)가 뒤(인물의 몸 쪽)를 향해 있음.", "built_space": "좌측에 유리문, 우측 작업대와 안쪽 자전거 배치는 적절함.", "entities": "인물 외모와 젖은 우비는 일치하나, 손전등이 거꾸로 들려 있음.", "hard_violations": [ "손전등의 전면부(렌즈)가 사용자 쪽을 향하도록 거꾸로 쥐어진 불가능한 소품 연출" ], "physics": "바닥을 딛고 섰으나, 왼손이 프레임에 없어 문을 미는 동작 자체가 성립하지 않음." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "reverse_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 7, "verdict_ko": "문을 잡고 들어오는 핵심 동작과 소품의 방향을 정확히 묘사했으며, 배경 요소의 배치도 지시문에 부합합니다." }, { "label": "A", "score": 3, "verdict_ko": "문을 미는 동작이 완전히 생략되었고, 손전등을 뒤집어 쥔 채로 묘사되어 기능적 고증과 연출 지시를 심각하게 위반했습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "연희의 시선과 손전등 빛이 정비소 안쪽을 올바르게 향함.", "built_space": "좌측에 열린 문, 우측에 작업대와 공구함, 안쪽에 뒤집힌 자전거가 요구된 대로 배치됨.", "entities": "인물 외모와 우비, 손전등이 참조와 일치하며 문에 '자전거 수리' 텍스트가 렌더링됨.", "hard_violations": [], "physics": "발로 바닥을 딛고 왼손으로 문 가장자리를, 오른손으로 손전등을 쥐고 물리적으로 안정된 상태임." }, { "label": "A", "direction": "시선은 앞을 향하나, 손전등의 렌즈(기능부)가 뒤(인물의 몸 쪽)를 향해 있음.", "built_space": "좌측에 유리문, 우측 작업대와 안쪽 자전거 배치는 적절함.", "entities": "인물 외모와 젖은 우비는 일치하나, 손전등이 거꾸로 들려 있음.", "hard_violations": [ "손전등의 전면부(렌즈)가 사용자 쪽을 향하도록 거꾸로 쥐어진 불가능한 소품 연출" ], "physics": "바닥을 딛고 섰으나, 왼손이 프레임에 없어 문을 미는 동작 자체가 성립하지 않음." } ] }, "combined": { "totals": { "A": 9, "B": 16 }, "ranking": [ "B", "A" ], "agreement": true, "policy": 1 } }, "readings": [ { "label": "B", "direction": "연희의 시선은 정비소 내부를 향하고 있으며, 왼손의 손전등은 앞을 비추고 오른손은 문 가장자리를 향해 힘을 가하고 있습니다.", "built_space": "위치 참조 사진과 일치하는 좁은 정비소 내부입니다. 왼쪽에 열린 문이 있고, 안쪽에 작업대와 공구함, 우측에 거꾸로 세워진 자전거가 올바르게 배치되어 있습니다.", "entities": "연희의 외모, 젖은 노란색 우비, 손전등 모두 참조와 일치합니다. 유리문에는 '자전거 수리'라는 텍스트가 정확히 표기되어 있습니다.", "hard_violations": [], "physics": "오른손으로 문을 지탱하며 밀고, 왼손으로 손전등을 쥐고 안으로 들어서는 체중 이동과 자세가 자연스럽게 구현되었습니다." }, { "label": "A", "direction": "연희의 시선은 정비소 안쪽을 향하며, 손전등은 아래쪽을 향해 있습니다. 문을 쳐다보거나 향하지 않습니다.", "built_space": "왼쪽에 유리문이 있고 안쪽에 작업대와 거꾸로 선 자전거가 있습니다. 하지만 문이 닫혀 있는 상태로 보입니다.", "entities": "연희의 인물 형태와 우비는 참조를 잘 따랐으며, 유리문에 '자전거 수리' 텍스트가 렌더링되었습니다.", "hard_violations": [], "physics": "손전등을 쥐고 서 있는 자세는 안정적이나, 프롬프트가 요구한 '문을 미는' 동작이나 문과의 접촉은 전혀 묘사되지 않았습니다." } ], "totals": { "A": 9, "B": 16 }, "selected": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 9, "verdict_ko": "한 손으로 문을 밀고 다른 손으로 손전등을 든 채 안으로 들어서는 프롬프트의 핵심 동작과 구도를 훌륭하게 구현했습니다." }, { "label": "A", "score": 6, "verdict_ko": "인물과 배경의 질감은 좋으나, 문을 미는 핵심 행동이 누락되었고 문이 닫혀 있는 것처럼 보입니다." } ], "refs": [ { "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/episodes/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/images/background_chain/L01B01.png", "asset_id": "b9d3842a-32e3-4983-9ebb-d5b8916c6bfc", "role": "location_plate" }, { "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "6cb0dd0a-53a9-474c-936d-5756571b82b4", "role": "character_ref" }, { "label": "PROP REFERENCE — 휴대용 손전등: the exact object appearing in this shot; match its look, material and wear exactly.", "path": "", "asset_id": "4fa5b417-bedc-4251-94c7-3293a5d488c8", "role": "prop_ref" } ], "critique": { "issues": [ { "issue_ko": "연희가 손전등의 렌즈가 있는 앞부분을 쥐고 있으며, 손전등의 뒷부분에서 빛이 나오는 불가능한 형태로 묘사되었습니다.", "fix_en": "Reverse the flashlight in her hand so the wide lens end points right and emits light, and the hand grips the narrow body. Preserve Yeonhee's face, pose, raincoat, the door, and the garage interior.", "unfixable": false, "needs_regeneration": false, "severity": "critical", "observation_index": 0, "needs_ref_indices": [ 3 ], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "배경에 있는 자전거가 프롬프트의 지시와 달리 거꾸로 뒤집혀 있지 않고 똑바로 세워져 있습니다.", "fix_en": "Invert the background bicycle so it rests upside down on its handlebars and saddle. Preserve Yeonhee, her clothing, the doorway, and workshop lighting.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 1, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "연희의 오른팔 뒤편 작업대 위에 있는 공구 상자가 열려 있지 않고 닫혀 있습니다.", "fix_en": "Open the lid of the black toolbox on the left workbench to reveal tools inside. Preserve Yeonhee, the bicycle, the door, and the workshop interior.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 2, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "프레임 중앙 연희의 노란 우비 어깨가 젖어 있지 않고 물기 질감이 없다", "fix_en": "Add glossy, dark wet patches to the shoulders of the yellow raincoat. Preserve Yeonhee's face, pose, the flashlight, and the garage background.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 4, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" } ], "observer_observations": [ { "issue_ko": "연희가 손전등의 렌즈가 있는 앞부분을 쥐고 있으며, 손전등의 뒷부분에서 빛이 나오는 불가능한 형태로 묘사되었습니다.", "severity": "critical" }, { "issue_ko": "배경에 있는 자전거가 프롬프트의 지시와 달리 거꾸로 뒤집혀 있지 않고 똑바로 세워져 있습니다.", "severity": "major" }, { "issue_ko": "연희의 오른팔 뒤편 작업대 위에 있는 공구 상자가 열려 있지 않고 닫혀 있습니다.", "severity": "major" }, { "issue_ko": "연희가 입은 우비의 어깨 부분에 물에 젖은 질감이 표현되지 않았습니다.", "severity": "minor" }, { "issue_ko": "프레임 중앙 연희의 노란 우비 어깨가 젖어 있지 않고 물기 질감이 없다", "severity": "major" } ], "observer_models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "observer_counts": { "gemini-pro": 4, "openrouter:x-ai/grok-4.6": 1 } }, "fix_severity_skipped_count": 3, "fix_severity_skipped": [ { "issue_ko": "배경에 있는 자전거가 프롬프트의 지시와 달리 거꾸로 뒤집혀 있지 않고 똑바로 세워져 있습니다.", "fix_en": "Invert the background bicycle so it rests upside down on its handlebars and saddle. Preserve Yeonhee, her clothing, the doorway, and workshop lighting.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 1, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "연희의 오른팔 뒤편 작업대 위에 있는 공구 상자가 열려 있지 않고 닫혀 있습니다.", "fix_en": "Open the lid of the black toolbox on the left workbench to reveal tools inside. Preserve Yeonhee, the bicycle, the door, and the workshop interior.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 2, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "프레임 중앙 연희의 노란 우비 어깨가 젖어 있지 않고 물기 질감이 없다", "fix_en": "Add glossy, dark wet patches to the shoulders of the yellow raincoat. Preserve Yeonhee's face, pose, the flashlight, and the garage background.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 4, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" } ], "repair_mode": "edit", "fix_ref_gate": { "mode": "gated", "available": 3, "kept": 1, "requested_indices": [ 3 ], "kept_labels": [ "PROP REFERENCE — 휴대용 손전등: the exact object appearing in this shot; match its look, material and wear exactly." ] }, "fix_ref_count": 2, "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Reverse the flashlight in her hand so the wide lens end points right and emits light, and the hand grips the narrow body. Preserve Yeonhee's face, pose, raincoat, the door, and the garage interior.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. Real-world writing that belongs\nto the scene — signs, banners, documents — stays exactly as the\noriginal shows it; do not add captions, subtitles, watermarks or\nany overlay text.", "fix_rejudge": { "forward_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 9, "verdict_ko": "캐릭터와 소품 레퍼런스를 정확히 반영하고 공간의 조명을 자연스럽게 표현하여 우수하나, 배경의 자전거가 거꾸로 세워져 있지 않은 점이 유일한 감점 요인입니다." }, { "label": "B", "score": 8, "verdict_ko": "A와 동일한 기저 이미지에 손전등 빛기둥을 추가했으나, 이 효과가 환경과 상호작용하지 않고 인위적인 그래픽 오버레이처럼 보여 물질적 사실성(Material Realism) 기준에 어긋납니다." } ], "readings": [ { "label": "A", "direction": "연희의 시선은 정비소 내부(오른쪽)를 향하고 있으며, 왼손에 든 손전등 역시 정비소 안쪽을 겨냥하고 있다.", "built_space": "정비소 입구 문이 왼쪽에 열려 있고, 내부에 작업대와 열린 공구 상자가 위치한다. 안쪽에 자전거가 수리대에 거치되어 있으나 프롬프트의 요구와 달리 거꾸로 세워져 있지 않다.", "entities": "연희의 얼굴, 체형, 노란 우비가 레퍼런스와 완벽히 일치한다. 손전등 소품도 레퍼런스와 동일하며, 문 유리에 '자전거 수리'라는 텍스트가 정확히 표기되어 있다.", "hard_violations": [], "physics": "오른손으로 문틀을 잡고 왼손으로 손전등을 쥔 자세가 자연스러우며, 바닥에 발을 디디고 서 있는 신체의 무게 중심과 지지 상태가 물리적으로 타당하다." }, { "label": "B", "direction": "연희의 시선과 손전등의 방향은 정비소 내부를 향하고 있으며, 손전등에서 앞으로 뻗어나가는 빛기둥이 명시적으로 그려져 있다.", "built_space": "A와 동일하게 내부 공간이 구성되어 있으며, 안쪽 자전거 역시 똑바로 세워져 있다.", "entities": "인물 및 소품 레퍼런스, 간판 텍스트 모두 A와 동일하게 일치하지만, 손전등 렌즈 앞에 다소 평면적인 빛기둥 그래픽이 추가되어 있다.", "hard_violations": [], "physics": "문을 잡고 있는 오른손과 손전등을 쥔 왼손의 파지법 및 신체 자세가 A와 동일하게 자연스럽고 물리적으로 안정적이다." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "forward_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 9, "verdict_ko": "캐릭터와 소품 레퍼런스를 정확히 반영하고 공간의 조명을 자연스럽게 표현하여 우수하나, 배경의 자전거가 거꾸로 세워져 있지 않은 점이 유일한 감점 요인입니다." }, { "label": "B", "score": 8, "verdict_ko": "A와 동일한 기저 이미지에 손전등 빛기둥을 추가했으나, 이 효과가 환경과 상호작용하지 않고 인위적인 그래픽 오버레이처럼 보여 물질적 사실성(Material Realism) 기준에 어긋납니다." } ], "all_candidates_fail": false, "readings": [ { "label": "A", "direction": "연희의 시선은 정비소 내부(오른쪽)를 향하고 있으며, 왼손에 든 손전등 역시 정비소 안쪽을 겨냥하고 있다.", "built_space": "정비소 입구 문이 왼쪽에 열려 있고, 내부에 작업대와 열린 공구 상자가 위치한다. 안쪽에 자전거가 수리대에 거치되어 있으나 프롬프트의 요구와 달리 거꾸로 세워져 있지 않다.", "entities": "연희의 얼굴, 체형, 노란 우비가 레퍼런스와 완벽히 일치한다. 손전등 소품도 레퍼런스와 동일하며, 문 유리에 '자전거 수리'라는 텍스트가 정확히 표기되어 있다.", "hard_violations": [], "physics": "오른손으로 문틀을 잡고 왼손으로 손전등을 쥔 자세가 자연스러우며, 바닥에 발을 디디고 서 있는 신체의 무게 중심과 지지 상태가 물리적으로 타당하다." }, { "label": "B", "direction": "연희의 시선과 손전등의 방향은 정비소 내부를 향하고 있으며, 손전등에서 앞으로 뻗어나가는 빛기둥이 명시적으로 그려져 있다.", "built_space": "A와 동일하게 내부 공간이 구성되어 있으며, 안쪽 자전거 역시 똑바로 세워져 있다.", "entities": "인물 및 소품 레퍼런스, 간판 텍스트 모두 A와 동일하게 일치하지만, 손전등 렌즈 앞에 다소 평면적인 빛기둥 그래픽이 추가되어 있다.", "hard_violations": [], "physics": "문을 잡고 있는 오른손과 손전등을 쥔 왼손의 파지법 및 신체 자세가 A와 동일하게 자연스럽고 물리적으로 안정적이다." } ] }, "reverse_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 9, "verdict_ko": "요청된 어깨의 젖은 질감을 성공적으로 반영했으며, A에서 왜곡되었던 손전등의 비율을 소품 레퍼런스와 정확하게 일치하도록 수정한 훌륭한 결과물입니다." }, { "label": "A", "score": 7, "verdict_ko": "인물과 배경의 기본 구성은 좋으나, 우비 어깨의 젖은 질감이 누락되었고 손전등이 소품 레퍼런스에 비해 비정상적으로 길게 늘어나 왜곡되었습니다." } ], "readings": [ { "label": "A", "direction": "연희의 시선과 손전등의 빛이 모두 정비소 내부 안쪽을 자연스럽게 향하고 있음.", "built_space": "화면 좌측에 정비소 문이 열려 있고, 그 뒤로 작업대와 공구 상자가 있으며, 안쪽에 자전거(거꾸로가 아닌 똑바로 세워져 있음)가 배치된 좁은 실내 구조임.", "entities": "연희의 얼굴과 노란 우비, 문의 '자전거 수리' 글귀는 정확하나, 우비 어깨가 전혀 젖어있지 않으며 손전등이 소품 레퍼런스와 달리 길게 왜곡됨.", "hard_violations": [], "physics": "왼손으로 문 가장자리를 짚고 오른손으로 손전등을 쥔 채 한 발 내딛는 동세와 파지가 물리적으로 어색함 없이 표현됨." }, { "label": "B", "direction": "연희의 시선과 손전등이 겨냥하는 방향이 정비소 내부를 향해 일관성 있게 일치함.", "built_space": "문이 열린 입구에서부터 기름때 묻은 작업대, 열린 공구 상자, 거치된 자전거로 이어지는 좁은 정비소 공간이 원근감 있게 잘 구현됨.", "entities": "인물 레퍼런스와 일치하며, 프롬프트에 지시된 우비 어깨 부분의 젖은 질감이 짙은 얼룩과 광택으로 잘 표현되었고 손전등 역시 소품 레퍼런스의 형태와 크기를 정확히 따름.", "hard_violations": [], "physics": "손전등을 쥔 오른손의 파지와 문을 미는 왼손, 체중이 실린 상체의 기울기 등 모든 자세와 지지 상태가 현실적이고 안정적임." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "reverse_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 9, "verdict_ko": "요청된 어깨의 젖은 질감을 성공적으로 반영했으며, A에서 왜곡되었던 손전등의 비율을 소품 레퍼런스와 정확하게 일치하도록 수정한 훌륭한 결과물입니다." }, { "label": "B", "score": 7, "verdict_ko": "인물과 배경의 기본 구성은 좋으나, 우비 어깨의 젖은 질감이 누락되었고 손전등이 소품 레퍼런스에 비해 비정상적으로 길게 늘어나 왜곡되었습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "연희의 시선과 손전등의 빛이 모두 정비소 내부 안쪽을 자연스럽게 향하고 있음.", "built_space": "화면 좌측에 정비소 문이 열려 있고, 그 뒤로 작업대와 공구 상자가 있으며, 안쪽에 자전거(거꾸로가 아닌 똑바로 세워져 있음)가 배치된 좁은 실내 구조임.", "entities": "연희의 얼굴과 노란 우비, 문의 '자전거 수리' 글귀는 정확하나, 우비 어깨가 전혀 젖어있지 않으며 손전등이 소품 레퍼런스와 달리 길게 왜곡됨.", "hard_violations": [], "physics": "왼손으로 문 가장자리를 짚고 오른손으로 손전등을 쥔 채 한 발 내딛는 동세와 파지가 물리적으로 어색함 없이 표현됨." }, { "label": "A", "direction": "연희의 시선과 손전등이 겨냥하는 방향이 정비소 내부를 향해 일관성 있게 일치함.", "built_space": "문이 열린 입구에서부터 기름때 묻은 작업대, 열린 공구 상자, 거치된 자전거로 이어지는 좁은 정비소 공간이 원근감 있게 잘 구현됨.", "entities": "인물 레퍼런스와 일치하며, 프롬프트에 지시된 우비 어깨 부분의 젖은 질감이 짙은 얼룩과 광택으로 잘 표현되었고 손전등 역시 소품 레퍼런스의 형태와 크기를 정확히 따름.", "hard_violations": [], "physics": "손전등을 쥔 오른손의 파지와 문을 미는 왼손, 체중이 실린 상체의 기울기 등 모든 자세와 지지 상태가 현실적이고 안정적임." } ] }, "combined": { "totals": { "A": 18, "B": 15 }, "ranking": [ "A", "B" ], "agreement": true, "policy": 1 }, "winner": "A", "fix_won": false, "all_candidates_fail": false, "policy": "fix_rejudge_v2_orig_on_tie" }, "shot_run_produced": false, "shot_run_uid": "06a8eccd-678f-7872-995b-17554b5c4929", "bgfirst": { "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/scene/recipe/S1sh2__bgfirst_bg.png", "bg_asset_id": "50c480e1-8780-4c5f-ada1-389dcab255fb", "bg_record_key": "S1sh2::bgfirst_bg", "chain_winner": false, "authority": "plate" }, "ref_mode": "플레이트+엔티티 (2택1: 무콘티 승)", "share_plan": { "ref_plan": "background" } }, "S1sh2::cine": { "applied": true, "attempted_at": "2026-08-26T09:38:11.289614+00:00", "fingerprint": "8c792733aa522ed353acdd817c45cd0e910d2db131137d954aa851004c13341d", "fingerprint_version": 2, "provider": "reve", "endpoint": "reve/2.1/edit", "model": "reve/2.1/edit", "pack": "24.202608252115", "source_file": "S1sh2_sel.png", "source_sha256": "b1dc4e503fe106325462b95690dc3696251a017941cd086889ca9316992d7827", "file": "S1sh2_cine.png", "staged_sha256": "52e3de9221ccba47ca2e81200d4b09076818475e69064057ef8cc790606ecf65", "latency_ms": 66588, "request_id": "01a03d6f-364f-7df0-a119-4353141f7d5d", "status_url": "https://queue.fal.run/reve/2.1/requests/01a03d6f-364f-7df0-a119-4353141f7d5d/status", "response_url": "https://queue.fal.run/reve/2.1/requests/01a03d6f-364f-7df0-a119-4353141f7d5d", "submitted_at": "2026-08-26T09:38:13.708301+00:00", "verify": { "ok": true, "broken": [], "split": [], "findings": { "anatomy": { "sound": true, "note": "", "agreed": true }, "object_integrity": { "sound": true, "note": "", "agreed": true }, "support": { "sound": true, "note": "", "agreed": true }, "duplication": { "sound": true, "note": "", "agreed": true } }, "rounds": 2, "requested": 2, "complete": true, "judged_size": [ 1376, 719 ], "contract": "97c32fc3dd5c7541", "error": null } }, "S1sh4::confined_fp_apt": { "applies": false, "reason_ko": "이 샷은 자전거 수리점 내부에서 두 인물이 서로 마주 보고 있는 장면입니다. 조종실이나 차량 내부처럼 복잡한 기기 조작부나 정확한 좌석 배치가 중요한 공간이 아니며, 방향성이 엄격하게 요구되는 물체를 겨냥하는 장면도 아니므로 평면도 배치가 필수적이지 않습니다.", "input_fingerprint": "be088602a8494d76" }, "S1sh4::signage": { "fp": "87785d28a695fe16", "inscriptions": [ { "surface_native": "벽면 안내판", "text_native": "자전거 수리", "reason_ko": "좁은 자전거 수리점 작업장 내부라는 공간적 배경을 직관적으로 보여주기 위해 벽면에 표시된 서비스 안내판이 필요합니다." } ] }, "era_assess::b8ec664e2cfa36ac": { "subjects": [ { "subject_native": "한국의 동네 자전거 수리점 내부", "search_terms_native": [ "자전거 수리점 내부", "자전거 전포", "동네 자전거포", "자전거 수리점 작업대" ], "language_lock_native": "모든 검색어는 반드시 한국어로만 작성되어야 하며, 다른 언어로 번역하거나 추가해서는 안 됩니다.", "reason_ko": "일반적인 AI 모델은 서구식의 넓고 정돈된 자전거 매장을 그리기 쉬우나, 한국 고유의 협소하고 세월의 흔적이 있는 동네 자전거포 특유의 작업대, 부품 배치, 내부 분위기를 정확히 재현하려면 실제 사진 참고가 필수적입니다." } ], "subject_text": "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." }, "era_ref::bff4ed3cce6b490a": { "subject": "한국의 동네 자전거 수리점 내부", "terms": [ "자전거 수리점 내부", "자전거 전포", "동네 자전거포", "자전거 수리점 작업대" ], "queries": [ [ "자전거 수리점 내부 동네 자전거포 작업대", "한국 동네 자전거 수리점 내부 자전거 점포" ] ], "candidates": 4, "picked_index": 4, "picked_url": "https://onthegrid.city/imager/s3_amazonaws_com/onthegrid.city/assets/grid/seoul/sangsu/dooboogong/IMG_7925-2_299006722e285f47655d17d1c9136337.jpg", "picked_reason_ko": "동네 자전거 수리점 특유의 천장 수납, 벽면 공구 배치, 다소 어수선하지만 실용적인 작업대 등 실제 공간 활용과 내부 디테일이 가장 자연스럽고 풍부하게 드러나 훌륭한 참고 자료가 됩니다.", "verdicts": [ { "index": 1, "usable": true, "score": 82, "reason_ko": "자전거 매장 겸 수리 공간의 전반적인 구조와 진열 방식이 명확하게 보입니다." }, { "index": 2, "usable": true, "score": 55, "reason_ko": "수리하는 인물과 자전거에 초점이 맞춰져 가게 내부 전체의 구조를 파악하기에는 부족합니다." }, { "index": 3, "usable": true, "score": 75, "reason_ko": "수리용 공구와 거치대가 잘 보이나, 상업용 수리점보다는 다소 단출한 작업실 느낌을 줍니다." }, { "index": 4, "usable": true, "score": 85, "reason_ko": "각종 부품과 공구가 밀집된 동네 수리점 특유의 작업 공간과 수납 방식이 매우 잘 나타납니다." } ], "candidate_urls": [ "https://dnvefa72aowie.cloudfront.net/origin/article/201906/8ab96a8af7c62dea9b3b54cb6f49a4bbd5276a487e8c08a2bbc61746d289b8c3.jpg?q=95&s=1440x1440&t=inside", "https://d3fphkxyf5o5bm.cloudfront.net/image-resize/format%3Dwebp%2Cw%3D1200/QwRY54Li1HMwD7oNfozLyyJgLUA3pFsSxzHgeXZ8aS", "https://img.kr.gcp-karroter.net/business-profile/bizPlatform/profile/92569478/1738439477469/VEVVT3V5SXpBUFFsaHRNTkF1SFQy.jpeg?q=95&s=1440x1440&t=inside", "https://onthegrid.city/imager/s3_amazonaws_com/onthegrid.city/assets/grid/seoul/sangsu/dooboogong/IMG_7925-2_299006722e285f47655d17d1c9136337.jpg" ], "sha256": "d005bec27adf680f505d8f04587a05c267bd8f6b734070a615358116a9257dcf", "file": "eraref_bff4ed3cce6b490a.png" }, "S1sh4::bgfirst_bg": { "input_fingerprint": "5a385e11139ba461", "prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nSHOT TEXT this background must serve (Korean): 고개를 치켜든 채 문가에 선 연희의 얼굴을 똑바로 마주 보고 있는 민수.\n\nLOCATION (lock): 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\nTIME OF DAY (lock): evening.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Restrained, slightly desaturated evening-interior illumination maintains moderate low-key contrast across Minsu's lifted face and Yeonhee's near shoulder.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. Signage and other writing that permanently belongs to this place may appear, in the place's native language and period style; no captions, watermarks or overlay text.\n\nPERIOD REFERENCE — 한국의 동네 자전거 수리점 내부: a researched photograph of the real\nthing. Copy its era-accurate form, proportions, materials, fittings\nand styling exactly. It decides ONLY what this thing looks like —\nnever the composition, framing, lighting, people or their placement.", "effective_prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nSHOT TEXT this background must serve (Korean): 고개를 치켜든 채 문가에 선 연희의 얼굴을 똑바로 마주 보고 있는 민수.\n\nLOCATION (lock): 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\nTIME OF DAY (lock): evening.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Restrained, slightly desaturated evening-interior illumination maintains moderate low-key contrast across Minsu's lifted face and Yeonhee's near shoulder.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. Signage and other writing that permanently belongs to this place may appear, in the place's native language and period style; no captions, watermarks or overlay text.\n\nPERIOD REFERENCE — 한국의 동네 자전거 수리점 내부: a researched photograph of the real\nthing. Copy its era-accurate form, proportions, materials, fittings\nand styling exactly. It decides ONLY what this thing looks like —\nnever the composition, framing, lighting, people or their placement.", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/scene/recipe/S1sh4__bgfirst_bg.png", "asset_id": "945a4e6b-236c-406e-81a1-f7e0e50f69e4", "input_asset_ids": [ "157bd804-3c3f-43c2-b162-99a0fadcac45", "b9d3842a-32e3-4983-9ebb-d5b8916c6bfc" ], "era_research": { "subject": "한국의 동네 자전거 수리점 내부", "queries": [ [ "자전거 수리점 내부 동네 자전거포 작업대", "한국 동네 자전거 수리점 내부 자전거 점포" ] ], "picked_url": "https://onthegrid.city/imager/s3_amazonaws_com/onthegrid.city/assets/grid/seoul/sangsu/dooboogong/IMG_7925-2_299006722e285f47655d17d1c9136337.jpg", "sha256": "d005bec27adf680f505d8f04587a05c267bd8f6b734070a615358116a9257dcf", "file": "eraref_bff4ed3cce6b490a.png" } }, "S1sh4": { "input_fingerprint": "80438c64b060b7ee", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 고개를 치켜든 채 문가에 선 연희의 얼굴을 똑바로 마주 보고 있는 민수.\n\nLOCATION (lock): 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. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Restrained, slightly desaturated evening-interior illumination maintains moderate low-key contrast across Minsu's lifted face and Yeonhee's near shoulder.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The clothing, hair and overall look of 연희 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped repair-shop look, fluorescent lighting, doorway, and oil-stained utilitarian materials from the reference. Keep the woman at the doorway in her yellow raincoat with the flashlight. Exclude the reference-only action of pushing the door and stepping inside, and compose the new shot around the mechanic facing her.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인 남성 얼굴, 40대 중년의 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락); 연희 (한국인 여성 얼굴, 20대의 젊은 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 벽면 안내판: \"자전거 수리\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.", "roll_prompts": { "A": "Stage the shot inside a tight, built interior. The FIRST attached image (SHOT BACKGROUND) is the finished empty interior of this shot, and in a space this cramped its geometry is the truth of the shot — keep it EXACTLY: its camera, perspective, every panel, control, seat, mirror, window and fixture stay untouched, in the same place, at the same angle, in the same number.\n\nBefore you place anyone, count what the background shows: how many steering wheels or control surfaces, how many seats and which way each faces, where each mirror sits and what it could reflect from this camera. Those counts and placements are what you must still be able to make after the people are in. Adding a second rim, sliding a seat, turning a mirror or growing a new panel is a failure even when the person looks right.\n\nThe SECOND attached image (LAYOUT SKETCH) tells you where the people go: each sketched person's position, screen size, pose and the gaze/motion arrows. Its background lines are not decoration — they are the same structure seen in line form, so use them to place each person correctly with respect to it: which seat the body occupies, which side of the wheel the hands are on, what the body passes in front of and what it passes behind. Where sketch and background disagree about the structure itself, the background wins.\n\nThe CHARACTER REFERENCE photographs show the real people.\n\nPlace the real people into the background at exactly the sketched positions, sizes and poses, following the arrow directions. A person may cover part of the structure — that is expected, and covering is not redrawing. What the body hides stays hidden; what remains visible stays exactly as the background had it. No sketch lines or arrows may remain.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 고개를 치켜든 채 문가에 선 연희의 얼굴을 똑바로 마주 보고 있는 민수.\n\nLOCATION (lock): 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. The shot takes place here — the FIRST attached image (SHOT BACKGROUND) is this exact place, already built: its ground, structures, horizon, materials and lighting are the finished truth of this location and must not be redesigned or replaced. No location photograph is attached — read the place from that image alone, and add no scenery, structure, vehicle or fixture that it does not already show. This lock governs the place only; the figures in the shot follow the staging and pose instructions.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Restrained, slightly desaturated evening-interior illumination maintains moderate low-key contrast across Minsu's lifted face and Yeonhee's near shoulder.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인 남성 얼굴, 40대 중년의 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락); 연희 (한국인 여성 얼굴, 20대의 젊은 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.", "B": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 고개를 치켜든 채 문가에 선 연희의 얼굴을 똑바로 마주 보고 있는 민수.\n\nLOCATION (lock): 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. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Restrained, slightly desaturated evening-interior illumination maintains moderate low-key contrast across Minsu's lifted face and Yeonhee's near shoulder.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The clothing, hair and overall look of 연희 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped repair-shop look, fluorescent lighting, doorway, and oil-stained utilitarian materials from the reference. Keep the woman at the doorway in her yellow raincoat with the flashlight. Exclude the reference-only action of pushing the door and stepping inside, and compose the new shot around the mechanic facing her.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인 남성 얼굴, 40대 중년의 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락); 연희 (한국인 여성 얼굴, 20대의 젊은 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 벽면 안내판: \"자전거 수리\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, but reframe like a film director choosing a different setup — a different angle, height, distance or foreground layer from the obvious one. For this candidate only, treat the CAMERA & FRAME contract above as a baseline to depart from, not a lock; the references and the shot text fix WHAT is seen, not WHERE the camera stands. Stay true to any explicit framing the SHOT TEXT itself dictates." }, "roll_refs": { "A": [ { "label": "SHOT BACKGROUND", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/scene/recipe/S1sh4__bgfirst_bg.png", "asset_id": "945a4e6b-236c-406e-81a1-f7e0e50f69e4", "role": "bgfirst_bg" }, { "label": "LAYOUT SKETCH (people placement AND the structure they sit inside — the sketched panels, seats, controls and openings are the same ones the background photograph shows, drawn as lines; read them to place each body correctly against that structure, and where the two disagree about the structure itself the background photograph wins)", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/conti/conti_S1sh4.png", "asset_id": "157bd804-3c3f-43c2-b162-99a0fadcac45", "role": "conti_light" }, { "label": "CHARACTER REFERENCE — 민수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "d49e9e20-beca-4ad8-8e46-a9a9f7878873", "role": "character_ref" }, { "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "6cb0dd0a-53a9-474c-936d-5756571b82b4", "role": "character_ref" } ], "B": [ { "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/episodes/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/images/background_chain/L01B01.png", "asset_id": "b9d3842a-32e3-4983-9ebb-d5b8916c6bfc", "role": "location_plate" }, { "label": "CHARACTER REFERENCE — 민수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "d49e9e20-beca-4ad8-8e46-a9a9f7878873", "role": "character_ref" }, { "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "6cb0dd0a-53a9-474c-936d-5756571b82b4", "role": "character_ref" } ] }, "shot_run_spend_attempt_count": 1, "judge_flip": { "forward_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 10, "verdict_ko": "요구된 미디엄 샷 구도를 정확히 따랐으며, 거꾸로 세워진 자전거, 작업대 위 렌치, '자전거 수리' 간판 텍스트 등 모든 세부 지시사항을 완벽하게 구현함." }, { "label": "A", "score": 4, "verdict_ko": "미디엄 샷 지정과 달리 앵글이 너무 넓고, 자전거가 똑바로 세워져 있으며, 렌치와 벽면 텍스트 등 주요 요소들이 누락됨." } ], "readings": [ { "label": "A", "direction": "연희는 문가에서 민수를 향해 시선을 보내고 있으며, 민수 역시 연희를 마주 보고 있음.", "built_space": "참조 이미지와 유사한 좁은 수리점 내부 구조이나, 카메라가 뒤로 물러나 있어 샷 크기가 프롬프트의 미디엄 샷보다 훨씬 넓게 잡혀 있음.", "entities": "연희(노란 우비, 손전등)와 민수(남색 작업복)의 외형은 참조와 일치함. 하지만 자전거가 거꾸로 세워져 있지 않고 똑바로 거치되어 있으며, 지정된 위치에 렌치가 보이지 않고 벽면의 '자전거 수리' 텍스트도 없음.", "hard_violations": [], "physics": "두 인물 모두 지면에 안정적으로 서 있으며, 손전등을 쥔 손의 묘사도 자연스러움." }, { "label": "B", "direction": "연희와 민수가 공간을 가로질러 정확하게 서로 눈을 맞추며 시선을 교환하고 있음.", "built_space": "프롬프트가 요구한 미디엄 샷 크기로 인물과 배경이 적절히 배치되었으며, 수리점 내부의 구조물들이 알맞은 원근과 크기로 묘사됨.", "entities": "연희와 민수의 인물 특징 및 복장이 완벽히 일치함. 거꾸로 세워진 자전거 프레임, 열린 공구 상자, 작업대 위 렌치, 벽면의 '자전거 수리' 간판 텍스트가 모두 정확하게 묘사됨.", "hard_violations": [], "physics": "두 인물이 바닥에 올바르게 체중을 싣고 서 있으며, 자전거는 정비 거치대에 거꾸로 안정적으로 매달려 있음." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "forward_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 10, "verdict_ko": "요구된 미디엄 샷 구도를 정확히 따랐으며, 거꾸로 세워진 자전거, 작업대 위 렌치, '자전거 수리' 간판 텍스트 등 모든 세부 지시사항을 완벽하게 구현함." }, { "label": "A", "score": 4, "verdict_ko": "미디엄 샷 지정과 달리 앵글이 너무 넓고, 자전거가 똑바로 세워져 있으며, 렌치와 벽면 텍스트 등 주요 요소들이 누락됨." } ], "all_candidates_fail": false, "readings": [ { "label": "A", "direction": "연희는 문가에서 민수를 향해 시선을 보내고 있으며, 민수 역시 연희를 마주 보고 있음.", "built_space": "참조 이미지와 유사한 좁은 수리점 내부 구조이나, 카메라가 뒤로 물러나 있어 샷 크기가 프롬프트의 미디엄 샷보다 훨씬 넓게 잡혀 있음.", "entities": "연희(노란 우비, 손전등)와 민수(남색 작업복)의 외형은 참조와 일치함. 하지만 자전거가 거꾸로 세워져 있지 않고 똑바로 거치되어 있으며, 지정된 위치에 렌치가 보이지 않고 벽면의 '자전거 수리' 텍스트도 없음.", "hard_violations": [], "physics": "두 인물 모두 지면에 안정적으로 서 있으며, 손전등을 쥔 손의 묘사도 자연스러움." }, { "label": "B", "direction": "연희와 민수가 공간을 가로질러 정확하게 서로 눈을 맞추며 시선을 교환하고 있음.", "built_space": "프롬프트가 요구한 미디엄 샷 크기로 인물과 배경이 적절히 배치되었으며, 수리점 내부의 구조물들이 알맞은 원근과 크기로 묘사됨.", "entities": "연희와 민수의 인물 특징 및 복장이 완벽히 일치함. 거꾸로 세워진 자전거 프레임, 열린 공구 상자, 작업대 위 렌치, 벽면의 '자전거 수리' 간판 텍스트가 모두 정확하게 묘사됨.", "hard_violations": [], "physics": "두 인물이 바닥에 올바르게 체중을 싣고 서 있으며, 자전거는 정비 거치대에 거꾸로 안정적으로 매달려 있음." } ] }, "reverse_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 10, "verdict_ko": "프롬프트가 요구한 거꾸로 세워진 자전거, '자전거 수리' 안내판 텍스트, 인물들의 위치와 의상, 시선 처리를 모두 완벽하게 구현했습니다." }, { "label": "B", "score": 4, "verdict_ko": "명시된 '자전거 수리' 간판 텍스트가 완전히 누락되었고, 자전거가 거꾸로 세워져 있지 않고 똑바로 서 있어 프롬프트의 핵심 요구사항을 위반했습니다." } ], "readings": [ { "label": "A", "direction": "연희와 민수는 서로의 얼굴을 똑바로 마주 보고 있음. 연희가 든 손전등은 앞을 향함.", "built_space": "레퍼런스 사진과 일치하는 좁은 자전거 정비소 내부. 정비소 문, 기름때 묻은 작업대, 배경의 나무판 구조가 정확히 배치됨.", "entities": "연희(노란 우비, 손전등, 레퍼런스 얼굴 일치), 민수(남색 작업복, 레퍼런스 얼굴 일치), 열린 공구 상자와 작업대 위의 렌치, 거꾸로 세워진 낡은 자전거가 모두 존재함. 벽면 나무판에 '자전거 수리' 텍스트가 정확하게 쓰여 있음.", "hard_violations": [], "physics": "두 인물 모두 바닥에 안정적으로 서 있으며, 손전등은 연희의 손에 쥐어져 있고 자전거는 스탠드에 거꾸로 안전하게 고정되어 있음." }, { "label": "B", "direction": "연희와 민수는 서로를 바라보고 있으며, 손전등은 앞을 향함.", "built_space": "정비소 내부 구조는 레퍼런스와 유사하나, 배경의 나무판에 있어야 할 텍스트가 비어 있음.", "entities": "연희(노란 우비, 손전등), 민수(남색 작업복)의 외형은 일치함. 열린 공구 상자는 있으나, 자전거가 거꾸로 세워져 있지 않고 똑바로 서 있음. 벽면의 '자전거 수리' 텍스트가 누락됨.", "hard_violations": [ "명시적으로 요구된 '거꾸로 세워진 자전거(inverted bicycle)'의 방향을 위반하고 똑바로 선 자전거로 렌더링함" ], "physics": "인물들은 바닥에 서 있고 민수의 손은 작업대에 닿아 있음. 자전거는 스탠드에 똑바로 세워져 있음." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "reverse_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 10, "verdict_ko": "프롬프트가 요구한 거꾸로 세워진 자전거, '자전거 수리' 안내판 텍스트, 인물들의 위치와 의상, 시선 처리를 모두 완벽하게 구현했습니다." }, { "label": "A", "score": 4, "verdict_ko": "명시된 '자전거 수리' 간판 텍스트가 완전히 누락되었고, 자전거가 거꾸로 세워져 있지 않고 똑바로 서 있어 프롬프트의 핵심 요구사항을 위반했습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "연희와 민수는 서로의 얼굴을 똑바로 마주 보고 있음. 연희가 든 손전등은 앞을 향함.", "built_space": "레퍼런스 사진과 일치하는 좁은 자전거 정비소 내부. 정비소 문, 기름때 묻은 작업대, 배경의 나무판 구조가 정확히 배치됨.", "entities": "연희(노란 우비, 손전등, 레퍼런스 얼굴 일치), 민수(남색 작업복, 레퍼런스 얼굴 일치), 열린 공구 상자와 작업대 위의 렌치, 거꾸로 세워진 낡은 자전거가 모두 존재함. 벽면 나무판에 '자전거 수리' 텍스트가 정확하게 쓰여 있음.", "hard_violations": [], "physics": "두 인물 모두 바닥에 안정적으로 서 있으며, 손전등은 연희의 손에 쥐어져 있고 자전거는 스탠드에 거꾸로 안전하게 고정되어 있음." }, { "label": "A", "direction": "연희와 민수는 서로를 바라보고 있으며, 손전등은 앞을 향함.", "built_space": "정비소 내부 구조는 레퍼런스와 유사하나, 배경의 나무판에 있어야 할 텍스트가 비어 있음.", "entities": "연희(노란 우비, 손전등), 민수(남색 작업복)의 외형은 일치함. 열린 공구 상자는 있으나, 자전거가 거꾸로 세워져 있지 않고 똑바로 서 있음. 벽면의 '자전거 수리' 텍스트가 누락됨.", "hard_violations": [ "명시적으로 요구된 '거꾸로 세워진 자전거(inverted bicycle)'의 방향을 위반하고 똑바로 선 자전거로 렌더링함" ], "physics": "인물들은 바닥에 서 있고 민수의 손은 작업대에 닿아 있음. 자전거는 스탠드에 똑바로 세워져 있음." } ] }, "combined": { "totals": { "A": 8, "B": 20 }, "ranking": [ "B", "A" ], "agreement": true, "policy": 1 } }, "readings": [ { "label": "A", "direction": "연희는 문가에서 민수를 향해 시선을 보내고 있으며, 민수 역시 연희를 마주 보고 있음.", "built_space": "참조 이미지와 유사한 좁은 수리점 내부 구조이나, 카메라가 뒤로 물러나 있어 샷 크기가 프롬프트의 미디엄 샷보다 훨씬 넓게 잡혀 있음.", "entities": "연희(노란 우비, 손전등)와 민수(남색 작업복)의 외형은 참조와 일치함. 하지만 자전거가 거꾸로 세워져 있지 않고 똑바로 거치되어 있으며, 지정된 위치에 렌치가 보이지 않고 벽면의 '자전거 수리' 텍스트도 없음.", "hard_violations": [], "physics": "두 인물 모두 지면에 안정적으로 서 있으며, 손전등을 쥔 손의 묘사도 자연스러움." }, { "label": "B", "direction": "연희와 민수가 공간을 가로질러 정확하게 서로 눈을 맞추며 시선을 교환하고 있음.", "built_space": "프롬프트가 요구한 미디엄 샷 크기로 인물과 배경이 적절히 배치되었으며, 수리점 내부의 구조물들이 알맞은 원근과 크기로 묘사됨.", "entities": "연희와 민수의 인물 특징 및 복장이 완벽히 일치함. 거꾸로 세워진 자전거 프레임, 열린 공구 상자, 작업대 위 렌치, 벽면의 '자전거 수리' 간판 텍스트가 모두 정확하게 묘사됨.", "hard_violations": [], "physics": "두 인물이 바닥에 올바르게 체중을 싣고 서 있으며, 자전거는 정비 거치대에 거꾸로 안정적으로 매달려 있음." } ], "totals": { "A": 8, "B": 20 }, "selected": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 10, "verdict_ko": "요구된 미디엄 샷 구도를 정확히 따랐으며, 거꾸로 세워진 자전거, 작업대 위 렌치, '자전거 수리' 간판 텍스트 등 모든 세부 지시사항을 완벽하게 구현함." }, { "label": "A", "score": 4, "verdict_ko": "미디엄 샷 지정과 달리 앵글이 너무 넓고, 자전거가 똑바로 세워져 있으며, 렌치와 벽면 텍스트 등 주요 요소들이 누락됨." } ], "refs": [ { "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/episodes/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/images/background_chain/L01B01.png", "asset_id": "b9d3842a-32e3-4983-9ebb-d5b8916c6bfc", "role": "location_plate" }, { "label": "CHARACTER REFERENCE — 민수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "d49e9e20-beca-4ad8-8e46-a9a9f7878873", "role": "character_ref" }, { "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "6cb0dd0a-53a9-474c-936d-5756571b82b4", "role": "character_ref" } ], "critique": { "issues": [ { "issue_ko": "우측에 거꾸로 세워진 자전거의 프레임 튜브가 무작위로 교차하고 부품들이 잘못된 위치에 융합되어 물리적으로 불가능한 형태를 띠고 있습니다.", "fix_en": "Redraw the inverted bicycle on the right to have a structurally sound, logical frame with correct tube connections, fork, and chain assembly, removing all physically impossible, fused, or extra parts. Keep Minsu, Yeonhee, their clothing, the workshop interior, the workbench, and the lighting exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "critical", "observation_index": 0, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "화면 중앙 우측에 위치한 민수의 오른손(카메라 방향) 손가락들이 뭉개져 해부학적으로 왜곡되어 있습니다.", "fix_en": "Redraw Minsu's right hand hanging by his side to have anatomically correct, distinct fingers without any fused or mashed appearance. Keep Minsu's pose, face, coveralls, Yeonhee, the workshop setting, the bicycle, and lighting exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 1, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "좌측 연희가 고개를 치켜들지 않고 수평으로 민수를 보고 있다", "fix_en": "Tilt Yeonhee's head backward so her chin is lifted and her gaze is directed upwards at Minsu. Keep her face identity, yellow raincoat, flashlight, Minsu, the workshop environment, and the lighting exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 2, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "중우측 민수가 캐릭터 레퍼런스의 모자를 착용하지 않았다", "fix_en": "Place a navy blue cap on Minsu's head to match his character reference. Keep his face identity, coveralls, pose, Yeonhee, the workshop interior, the bicycle, and the lighting exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 3, "needs_ref_indices": [ 2 ], "adds_missing_entity": true, "missing_entity_name": "navy blue cap" } ], "observer_observations": [ { "issue_ko": "우측에 거꾸로 세워진 자전거의 프레임 튜브가 무작위로 교차하고 부품들이 잘못된 위치에 융합되어 물리적으로 불가능한 형태를 띠고 있습니다.", "severity": "critical" }, { "issue_ko": "화면 중앙 우측에 위치한 민수의 오른손(카메라 방향) 손가락들이 뭉개져 해부학적으로 왜곡되어 있습니다.", "severity": "major" }, { "issue_ko": "좌측 연희가 고개를 치켜들지 않고 수평으로 민수를 보고 있다", "severity": "major" }, { "issue_ko": "중우측 민수가 캐릭터 레퍼런스의 모자를 착용하지 않았다", "severity": "major" } ], "observer_models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "observer_counts": { "gemini-pro": 2, "openrouter:x-ai/grok-4.6": 2 } }, "fix_severity_skipped_count": 3, "fix_severity_skipped": [ { "issue_ko": "화면 중앙 우측에 위치한 민수의 오른손(카메라 방향) 손가락들이 뭉개져 해부학적으로 왜곡되어 있습니다.", "fix_en": "Redraw Minsu's right hand hanging by his side to have anatomically correct, distinct fingers without any fused or mashed appearance. Keep Minsu's pose, face, coveralls, Yeonhee, the workshop setting, the bicycle, and lighting exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 1, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "좌측 연희가 고개를 치켜들지 않고 수평으로 민수를 보고 있다", "fix_en": "Tilt Yeonhee's head backward so her chin is lifted and her gaze is directed upwards at Minsu. Keep her face identity, yellow raincoat, flashlight, Minsu, the workshop environment, and the lighting exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 2, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "중우측 민수가 캐릭터 레퍼런스의 모자를 착용하지 않았다", "fix_en": "Place a navy blue cap on Minsu's head to match his character reference. Keep his face identity, coveralls, pose, Yeonhee, the workshop interior, the bicycle, and the lighting exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 3, "needs_ref_indices": [ 2 ], "adds_missing_entity": true, "missing_entity_name": "navy blue cap" } ], "repair_mode": "edit", "fix_ref_gate": { "mode": "gated", "available": 3, "kept": 0, "requested_indices": [], "kept_labels": [] }, "fix_ref_count": 1, "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Redraw the inverted bicycle on the right to have a structurally sound, logical frame with correct tube connections, fork, and chain assembly, removing all physically impossible, fused, or extra parts. Keep Minsu, Yeonhee, their clothing, the workshop interior, the workbench, and the lighting exactly as they are.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. Real-world writing that belongs\nto the scene — signs, banners, documents — stays exactly as the\noriginal shows it; do not add captions, subtitles, watermarks or\nany overlay text.", "fix_rejudge": { "forward_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 7, "verdict_ko": "자전거를 거꾸로 세워 배치하라는 세부 지시를 포함해 모든 요구사항을 레퍼런스와 함께 충실히 반영했습니다." }, { "label": "B", "score": 5, "verdict_ko": "전반적인 묘사와 인물 동일성은 우수하나, 자전거가 거꾸로 세워지지 않고 똑바로 거치되어 핵심 지시를 누락했습니다." } ], "readings": [ { "label": "A", "direction": "연희와 민수는 서로의 얼굴을 똑바로 마주보고 있으며, 연희가 든 손전등은 앞을 향함.", "built_space": "작업대, 열린 공구 상자, 벽면의 '자전거 수리' 간판이 지정된 정비소 공간 내에 올바르게 배치됨.", "entities": "두 인물 모두 레퍼런스 이미지의 외모와 복장(노란 우비, 남색 작업복)이 정확히 일치하며, 낡은 자전거가 거꾸로 세워져 있음.", "hard_violations": [], "physics": "두 사람은 바닥에 안정적으로 서 있고, 렌치는 작업대에 놓여 있으며, 자전거는 스탠드에 거꾸로 지지됨." }, { "label": "B", "direction": "연희와 민수는 서로 마주보고 있으며, 손전등은 앞을 향함.", "built_space": "정비소 내부의 작업대, 공구 상자, 간판 등 배경 요소가 적절한 위치에 묘사됨.", "entities": "인물의 외모와 복장은 레퍼런스와 일치하나, 자전거가 거꾸로 세워져 있지 않고 정상 방향의 프레임만 거치되어 있음.", "hard_violations": [], "physics": "인물들은 바닥에 서 있고 사물들도 테이블 및 스탠드에 안정적으로 지지됨." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "forward_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 7, "verdict_ko": "자전거를 거꾸로 세워 배치하라는 세부 지시를 포함해 모든 요구사항을 레퍼런스와 함께 충실히 반영했습니다." }, { "label": "B", "score": 5, "verdict_ko": "전반적인 묘사와 인물 동일성은 우수하나, 자전거가 거꾸로 세워지지 않고 똑바로 거치되어 핵심 지시를 누락했습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "A", "direction": "연희와 민수는 서로의 얼굴을 똑바로 마주보고 있으며, 연희가 든 손전등은 앞을 향함.", "built_space": "작업대, 열린 공구 상자, 벽면의 '자전거 수리' 간판이 지정된 정비소 공간 내에 올바르게 배치됨.", "entities": "두 인물 모두 레퍼런스 이미지의 외모와 복장(노란 우비, 남색 작업복)이 정확히 일치하며, 낡은 자전거가 거꾸로 세워져 있음.", "hard_violations": [], "physics": "두 사람은 바닥에 안정적으로 서 있고, 렌치는 작업대에 놓여 있으며, 자전거는 스탠드에 거꾸로 지지됨." }, { "label": "B", "direction": "연희와 민수는 서로 마주보고 있으며, 손전등은 앞을 향함.", "built_space": "정비소 내부의 작업대, 공구 상자, 간판 등 배경 요소가 적절한 위치에 묘사됨.", "entities": "인물의 외모와 복장은 레퍼런스와 일치하나, 자전거가 거꾸로 세워져 있지 않고 정상 방향의 프레임만 거치되어 있음.", "hard_violations": [], "physics": "인물들은 바닥에 서 있고 사물들도 테이블 및 스탠드에 안정적으로 지지됨." } ] }, "reverse_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 7, "verdict_ko": "요구된 모든 인물의 외형, 의상, 소품을 정확히 구현했으며, 특히 프롬프트가 강조한 '거꾸로 세워진 낡은 자전거'를 충실히 반영하여 프롬프트 일치도가 높습니다." }, { "label": "A", "score": 4, "verdict_ko": "인물과 배경의 기본 설정은 훌륭하나, 필수 배경 요소인 '거꾸로 세워진 낡은 자전거' 대신 바퀴가 없는 프레임을 똑바로 세워두어 핵심 요구사항을 누락했습니다." } ], "readings": [ { "label": "B", "direction": "연희와 민수가 서로를 똑바로 마주 보고 있으며, 손전등은 민수 방향을 향함.", "built_space": "비좁은 자전거 수리점. 왼쪽엔 열린 문, 중앙엔 작업대, 오른쪽엔 자전거 거치 구역이 적절히 배치됨.", "entities": "연희(노란 우비, 손전등), 민수(남색 작업복), 간판('자전거 수리'), 렌치, 거꾸로 세워진 자전거 등 모든 지정 요소가 정확히 일치함.", "hard_violations": [], "physics": "두 인물 모두 바닥에 안정적으로 서 있으며, 거꾸로 된 자전거는 스탠드에 지지되어 있음." }, { "label": "A", "direction": "연희와 민수가 서로 시선을 교환하고 있으며, 손전등의 빛이 오른쪽을 향함.", "built_space": "수리점 내부 공간의 배치(문, 작업대, 거치대)가 기준 이미지와 일치하게 구성됨.", "entities": "인물의 외형과 간판 텍스트는 일치하나, 거꾸로 세워진 자전거 대신 바퀴 없는 자전거 프레임이 똑바로 거치되어 있음.", "hard_violations": [ "명시된 수직 방향(거꾸로 세워진)과 반대로 자전거 프레임이 똑바로 거치됨." ], "physics": "인물의 자세와 사물들의 배치가 중력에 맞게 안정적으로 지지되어 있음." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "reverse_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 7, "verdict_ko": "요구된 모든 인물의 외형, 의상, 소품을 정확히 구현했으며, 특히 프롬프트가 강조한 '거꾸로 세워진 낡은 자전거'를 충실히 반영하여 프롬프트 일치도가 높습니다." }, { "label": "B", "score": 4, "verdict_ko": "인물과 배경의 기본 설정은 훌륭하나, 필수 배경 요소인 '거꾸로 세워진 낡은 자전거' 대신 바퀴가 없는 프레임을 똑바로 세워두어 핵심 요구사항을 누락했습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "A", "direction": "연희와 민수가 서로를 똑바로 마주 보고 있으며, 손전등은 민수 방향을 향함.", "built_space": "비좁은 자전거 수리점. 왼쪽엔 열린 문, 중앙엔 작업대, 오른쪽엔 자전거 거치 구역이 적절히 배치됨.", "entities": "연희(노란 우비, 손전등), 민수(남색 작업복), 간판('자전거 수리'), 렌치, 거꾸로 세워진 자전거 등 모든 지정 요소가 정확히 일치함.", "hard_violations": [], "physics": "두 인물 모두 바닥에 안정적으로 서 있으며, 거꾸로 된 자전거는 스탠드에 지지되어 있음." }, { "label": "B", "direction": "연희와 민수가 서로 시선을 교환하고 있으며, 손전등의 빛이 오른쪽을 향함.", "built_space": "수리점 내부 공간의 배치(문, 작업대, 거치대)가 기준 이미지와 일치하게 구성됨.", "entities": "인물의 외형과 간판 텍스트는 일치하나, 거꾸로 세워진 자전거 대신 바퀴 없는 자전거 프레임이 똑바로 거치되어 있음.", "hard_violations": [ "명시된 수직 방향(거꾸로 세워진)과 반대로 자전거 프레임이 똑바로 거치됨." ], "physics": "인물의 자세와 사물들의 배치가 중력에 맞게 안정적으로 지지되어 있음." } ] }, "combined": { "totals": { "A": 14, "B": 9 }, "ranking": [ "A", "B" ], "agreement": true, "policy": 1 }, "winner": "A", "fix_won": false, "all_candidates_fail": false, "policy": "fix_rejudge_v2_orig_on_tie" }, "shot_run_produced": false, "shot_run_uid": "06a8eccd-681d-7473-b45b-d1d4fe50784d", "bgfirst": { "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/scene/recipe/S1sh4__bgfirst_bg.png", "bg_asset_id": "945a4e6b-236c-406e-81a1-f7e0e50f69e4", "bg_record_key": "S1sh4::bgfirst_bg", "chain_winner": false, "authority": "plate" }, "ref_mode": "플레이트+엔티티 (2택1: 무콘티 승)", "share_plan": { "ref_plan": "prev", "prev_anchor_tag": "S1sh2" } }, "S1sh4::cine": { "applied": true, "attempted_at": "2026-08-26T09:59:02.381968+00:00", "fingerprint": "29a8e255d99e2bd37dc29e19d881c103287e6853ccaff17489236c489d1d630c", "fingerprint_version": 2, "provider": "reve", "endpoint": "reve/2.1/edit", "model": "reve/2.1/edit", "pack": "24.202608252115", "source_file": "S1sh4_sel.png", "source_sha256": "3ced85f9cb54005985e9e8c7870518ecdf5ad2f5b53585531a0653d3adcdc6c6", "file": "S1sh4_cine.png", "staged_sha256": "9c25564cafe56ccbf0d476726bf1eb987627be770f96744471a2419744e61e5e", "latency_ms": 75802, "request_id": "01a03d82-4f7e-75d2-8df3-690c8733a671", "status_url": "https://queue.fal.run/reve/2.1/requests/01a03d82-4f7e-75d2-8df3-690c8733a671/status", "response_url": "https://queue.fal.run/reve/2.1/requests/01a03d82-4f7e-75d2-8df3-690c8733a671", "submitted_at": "2026-08-26T09:59:05.368609+00:00", "verify": { "ok": true, "broken": [], "split": [], "findings": { "anatomy": { "sound": true, "note": "", "agreed": true }, "object_integrity": { "sound": true, "note": "", "agreed": true }, "support": { "sound": true, "note": "", "agreed": true }, "duplication": { "sound": true, "note": "", "agreed": true } }, "rounds": 2, "requested": 2, "complete": true, "judged_size": [ 1376, 768 ], "contract": "97c32fc3dd5c7541", "error": null } }, "S2sh1::signage": { "fp": "2ba1718a2aecda5f", "inscriptions": [ { "surface_native": "아스팔트 도로 표면", "text_native": "천천히", "reason_ko": "한국의 골목길 사거리 바닥에 흔히 그려져 있는 교통안전 노면 표시로, 젖은 도로의 현실적인 분위기를 더해줍니다." } ] }, "era_assess::f6931a552558a637": { "subjects": [ { "subject_native": "한국의 현대 주택가 골목길 사거리", "search_terms_native": [ "한국 주택가 골목길 야경", "골목길 사거리", "보안등 골목길 밤", "동네 골목길" ], "language_lock_native": "이 검색어는 반드시 한국어로만 검색해야 하며 다른 언어로 번역하거나 추가해서는 안 됩니다.", "reason_ko": "한국 특유의 주택가 골목길 형태, 전신주, 보안등의 스타일은 일반적인 서구식 골목 풍경과 뚜렷한 차이가 있어 고증이 필요합니다." } ], "subject_text": "Outdoors at the wet center of a four-way alley intersection, directly beneath the reach of a flickering streetlamp. The lamp glow stretches across the rain-slick pavement." }, "era_ref::a514f293ee4abaf1": { "subject": "한국의 현대 주택가 골목길 사거리", "terms": [ "한국 주택가 골목길 야경", "골목길 사거리", "보안등 골목길 밤", "동네 골목길" ], "queries": [ [ "한국 주택가 골목길 야경 골목길 사거리 보안등 골목길 밤 동네 골목길", "한국의 현대 주택가 골목길 사거리" ] ], "candidates": 4, "picked_index": 3, "picked_url": "https://t1.daumcdn.net/news/202003/13/Edaily/20200313003335567yzpc.jpg", "picked_reason_ko": "비록 교차로가 두드러지지는 않으나, 현대 한국 빌라촌 골목길의 전형적인 폭, 벽돌 마감재, 가스 배관 등 일상적인 디테일과 비례가 가장 잘 드러나 훌륭한 형태 참고 자료가 됩니다.", "verdicts": [ { "index": 1, "usable": false, "score": 0, "reason_ko": "벽화가 그려진 관광지 혹은 예술 프로젝트 공간으로 보여 평범한 일상적 주택가 골목의 참고용으로 부적합합니다." }, { "index": 2, "usable": true, "score": 55, "reason_ko": "주택가 도로나, 망원 렌즈 압축과 과도한 주차 차량으로 인해 건축물과 공간의 구조를 파악하기 다소 어렵습니다." }, { "index": 3, "usable": true, "score": 75, "reason_ko": "사거리 형태가 뚜렷하진 않으나, 현대 한국 다세대 주택가 골목길의 전형적인 재질과 시설물이 매우 명확하게 보입니다." }, { "index": 4, "usable": true, "score": 45, "reason_ko": "골목의 형태는 있으나 명암 대비가 지나치게 강하고, 바닥의 특수한 발광 블록 때문에 보편적인 구조를 읽기 힙듭니다." } ], "candidate_urls": [ "https://www.jeonmae.co.kr/news/photo/201705/20170525_1_163340.jpg", "https://cdn.welfarehello.com/naver-blog/production/tong_namgu/2023-09/223203206131/tong_namgu_223203206131_0.jpg?f=webp&q=80&w=800", "https://t1.daumcdn.net/news/202003/13/Edaily/20200313003335567yzpc.jpg", "https://img8.yna.co.kr/etc/inner/KR/2026/03/16/AKR20260316108300004_03_i_P4.jpg" ], "sha256": "5ff8a918e791cf447a6f023297397bd5ee2ed3c21f28da4b89904028d07790df", "file": "eraref_a514f293ee4abaf1.png" }, "S2sh1::bgfirst_bg": { "input_fingerprint": "051864c485abaad5", "prompt": "Turn the attached storyboard sketch into a photorealistic film still of\nits LOCATION ONLY, keeping the figures exactly as they are.\n\nKEEP EXACTLY: the camera framing, the horizon, and where every element\nsits in the frame. Each mannequin figure stays a plain grey featureless\nmannequin standing in the very same spot, at the same size, in the same\npose, turned the same way — do not turn them into people, do not move,\nrotate, mirror or re-pose them, do not add or remove figures.\n\nBUILD PHOTOREALISTICALLY: everything that is not a figure — ground,\nsurfacing, structures, vegetation, sky, water, distance. The bare lines\nof the sketch are a layout guide; replace them with the real materials,\ndepth and lighting of the place described below.\n\nSHOT TEXT this background must serve (Korean): 켜진 가로등 불빛이 흔들리는 젖은 사거리 한가운데에 노인이 눈을 감고 누워 있는 전경.\n\nLOCATION (lock): Outdoors at the wet center of a four-way alley intersection, directly beneath the reach of a flickering streetlamp. The lamp glow stretches across the rain-slick pavement.\n\nTIME OF DAY (lock): evening.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 네 갈래 사거리 (네 방향으로 갈라져 있음) — The four branches radiate from the elderly man's central position toward separate frame edges; used as Creates the wide geometric isolation around the small central figure; 젖은 바닥 (젖어 있으며 가로등 불빛이 길게 번져 있음) — The surface reflects the flickering streetlamp light in an elongated patch around and beyond the elderly man; used as Separates the body from the surrounding road through reflected light; 가로등 (켜진 채 깜빡이고 있음) — Its upright form is seen obliquely above the central area of the intersection; used as Anchors the elderly man's position within the wide intersection; 떨어진 지팡이 (노인 곁 바닥에 떨어져 있음) — The cane lies at an oblique angle beside the elderly man's body; used as Provides a small secondary marker that clarifies the figure's vulnerability.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The flickering streetlamp casts unstable evening light that stretches across the wet pavement in a restrained, slightly desaturated low-key palette.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHINGS AT THIS PLACE:\nThe site is organized around a central four-way alley junction where two alley axes cross and continue as four approaches. For plan-drafting purposes, the four approaches are designated plan-north, plan-east, plan-south, and plan-west; these labels establish only the map orientation. The exact center of the crossing forms the principal open camera area, while the mouths of all four approaches remain visually connected to it. A single fixed streetlamp stands at the junction edge beside one corner, designated the plan-southeast corner for drafting, without obstructing any approach.\n- intersection: central four-way alley junction\n- approach: plan-north alley approach\n- approach: plan-east alley approach\n- approach: plan-south alley approach\n- approach: plan-west alley approach\n- streetlamp: single junction-edge streetlamp\n\nWORLD FACTS (creator-confirmed — always true):\n- Region (real-world reference): 대한민국\n- Era: 동시대 현대\n- 의상, 생활 설비, 거리 환경은 현대적이고 소박한 수준으로 통일하며, 미래형 디자인이나 뚜렷한 과거 시대의 요소를 혼입하지 않는다.\n- 장비는 현실적인 현대 보급형 제품으로 표현하고, 첨단 인터페이스·공상과학 장치·시대착오적인 골동품 기술은 배제한다.\n\nTHINGS THAT LIVE AT THIS PLACE (what they are, not where they go): the\nlist above names what permanently belongs to this site. Where each one\nsits in this frame is decided by the attached sketch alone — do not add\nor reposition anything on the strength of the list, build only what the\nsketch already has lines for, and do not invent facilities that are not\nlisted.\n\nSignage and other writing that permanently belongs to this place may\nappear, in the place's native language and period style. No captions,\nwatermarks or overlay text, and none of the sketch's diagram symbols,\nlines or markers anywhere in the image.\n\nPERIOD REFERENCE — 한국의 현대 주택가 골목길 사거리: a researched photograph of the real\nthing. Copy its era-accurate form, proportions, materials, fittings\nand styling exactly. It decides ONLY what this thing looks like —\nnever the composition, framing, lighting, people or their placement.", "effective_prompt": "Turn the attached storyboard sketch into a photorealistic film still of\nits LOCATION ONLY, keeping the figures exactly as they are.\n\nKEEP EXACTLY: the camera framing, the horizon, and where every element\nsits in the frame. Each mannequin figure stays a plain grey featureless\nmannequin standing in the very same spot, at the same size, in the same\npose, turned the same way — do not turn them into people, do not move,\nrotate, mirror or re-pose them, do not add or remove figures.\n\nBUILD PHOTOREALISTICALLY: everything that is not a figure — ground,\nsurfacing, structures, vegetation, sky, water, distance. The bare lines\nof the sketch are a layout guide; replace them with the real materials,\ndepth and lighting of the place described below.\n\nSHOT TEXT this background must serve (Korean): 켜진 가로등 불빛이 흔들리는 젖은 사거리 한가운데에 노인이 눈을 감고 누워 있는 전경.\n\nLOCATION (lock): Outdoors at the wet center of a four-way alley intersection, directly beneath the reach of a flickering streetlamp. The lamp glow stretches across the rain-slick pavement.\n\nTIME OF DAY (lock): evening.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 네 갈래 사거리 (네 방향으로 갈라져 있음) — The four branches radiate from the elderly man's central position toward separate frame edges; used as Creates the wide geometric isolation around the small central figure; 젖은 바닥 (젖어 있으며 가로등 불빛이 길게 번져 있음) — The surface reflects the flickering streetlamp light in an elongated patch around and beyond the elderly man; used as Separates the body from the surrounding road through reflected light; 가로등 (켜진 채 깜빡이고 있음) — Its upright form is seen obliquely above the central area of the intersection; used as Anchors the elderly man's position within the wide intersection; 떨어진 지팡이 (노인 곁 바닥에 떨어져 있음) — The cane lies at an oblique angle beside the elderly man's body; used as Provides a small secondary marker that clarifies the figure's vulnerability.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The flickering streetlamp casts unstable evening light that stretches across the wet pavement in a restrained, slightly desaturated low-key palette.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHINGS AT THIS PLACE:\nThe site is organized around a central four-way alley junction where two alley axes cross and continue as four approaches. For plan-drafting purposes, the four approaches are designated plan-north, plan-east, plan-south, and plan-west; these labels establish only the map orientation. The exact center of the crossing forms the principal open camera area, while the mouths of all four approaches remain visually connected to it. A single fixed streetlamp stands at the junction edge beside one corner, designated the plan-southeast corner for drafting, without obstructing any approach.\n- intersection: central four-way alley junction\n- approach: plan-north alley approach\n- approach: plan-east alley approach\n- approach: plan-south alley approach\n- approach: plan-west alley approach\n- streetlamp: single junction-edge streetlamp\n\nWORLD FACTS (creator-confirmed — always true):\n- Region (real-world reference): 대한민국\n- Era: 동시대 현대\n- 의상, 생활 설비, 거리 환경은 현대적이고 소박한 수준으로 통일하며, 미래형 디자인이나 뚜렷한 과거 시대의 요소를 혼입하지 않는다.\n- 장비는 현실적인 현대 보급형 제품으로 표현하고, 첨단 인터페이스·공상과학 장치·시대착오적인 골동품 기술은 배제한다.\n\nTHINGS THAT LIVE AT THIS PLACE (what they are, not where they go): the\nlist above names what permanently belongs to this site. Where each one\nsits in this frame is decided by the attached sketch alone — do not add\nor reposition anything on the strength of the list, build only what the\nsketch already has lines for, and do not invent facilities that are not\nlisted.\n\nSignage and other writing that permanently belongs to this place may\nappear, in the place's native language and period style. No captions,\nwatermarks or overlay text, and none of the sketch's diagram symbols,\nlines or markers anywhere in the image.\n\nPERIOD REFERENCE — 한국의 현대 주택가 골목길 사거리: a researched photograph of the real\nthing. Copy its era-accurate form, proportions, materials, fittings\nand styling exactly. It decides ONLY what this thing looks like —\nnever the composition, framing, lighting, people or their placement.", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/scene/recipe/S2sh1__bgfirst_bg.png", "asset_id": "2835994f-7729-416e-8701-2e7e639389c3", "input_asset_ids": [ "8cbc410b-e3f0-4fb2-aed0-c9d5d3d516ff" ], "era_research": { "subject": "한국의 현대 주택가 골목길 사거리", "queries": [ [ "한국 주택가 골목길 야경 골목길 사거리 보안등 골목길 밤 동네 골목길", "한국의 현대 주택가 골목길 사거리" ] ], "picked_url": "https://t1.daumcdn.net/news/202003/13/Edaily/20200313003335567yzpc.jpg", "sha256": "5ff8a918e791cf447a6f023297397bd5ee2ed3c21f28da4b89904028d07790df", "file": "eraref_a514f293ee4abaf1.png" } }, "S2sh1": { "input_fingerprint": "82e15bc4a952d276", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 켜진 가로등 불빛이 흔들리는 젖은 사거리 한가운데에 노인이 눈을 감고 누워 있는 전경.\n\nLOCATION (lock): Outdoors at the wet center of a four-way alley intersection, directly beneath the reach of a flickering streetlamp. The lamp glow stretches across the rain-slick pavement. The shot takes place here — the attached STORYBOARD SKETCH fixes the staging, camera and figure placement of this exact place. No location photograph is attached — build the location itself strictly from the location text above and the shot text, inventing nothing beyond them.\n\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The flickering streetlamp casts unstable evening light that stretches across the wet pavement in a restrained, slightly desaturated low-key palette.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man is positioned on his side on the wet ground at the center of the intersection, with his eyes closed and his cane on the ground beside him. The text does not specify the exact arrangement of his arms or legs or which side of his body faces downward.\n\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The elderly man is positioned on his side on the wet ground at the center of the intersection, with his eyes closed and his cane on the ground beside him, wearing a gray coat.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 노인 (한국인 노년 얼굴, 70대의 주름진 얼굴선, 자연스러운 동아시아계 이목구비, 회백색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 아스팔트 도로 표면: \"천천히\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.", "roll_prompts": { "A": "Replace every grey or outlined mannequin figure in the FIRST attached\nimage with the real people the CHARACTER REFERENCE images show, and\noutput a photorealistic film still. Each mannequin becomes the character\nwhose POSE CANON and the shot text match that figure's pose and\nposition; never repeat one person across two mannequins. If no CHARACTER\nREFERENCE image is attached for a figure, still replace it with a\nplausible real person consistent with the text. Every mannequin becomes\na person — erasing a figure, or leaving one out, is not a replacement,\nand the number of figures never changes.\n\nKEEP EXACTLY: the background of the first image, the camera framing,\nand each mannequin's position, size, pose and the direction it is\nturned. A person must be exactly where their mannequin was, at the same\nscale, in the same pose, facing the same way — never mirrored, never\nre-staged, never straightened up, stood upright or otherwise re-posed.\nNo mannequin, grey figure or sketch line may remain anywhere in the\noutput.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 켜진 가로등 불빛이 흔들리는 젖은 사거리 한가운데에 노인이 눈을 감고 누워 있는 전경.\n\nLOCATION (lock): Outdoors at the wet center of a four-way alley intersection, directly beneath the reach of a flickering streetlamp. The lamp glow stretches across the rain-slick pavement. The shot takes place here — the FIRST attached image (SHOT BACKGROUND) is this exact place, already built: its ground, structures, horizon, materials and lighting are the finished truth of this location and must not be redesigned or replaced. No location photograph is attached — read the place from that image alone, and add no scenery, structure, vehicle or fixture that it does not already show. This lock governs the place only; the figures in the shot follow the staging and pose instructions.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 네 갈래 사거리 (네 방향으로 갈라져 있음) — The four branches radiate from the elderly man's central position toward separate frame edges; used as Creates the wide geometric isolation around the small central figure; 젖은 바닥 (젖어 있으며 가로등 불빛이 길게 번져 있음) — The surface reflects the flickering streetlamp light in an elongated patch around and beyond the elderly man; used as Separates the body from the surrounding road through reflected light; 가로등 (켜진 채 깜빡이고 있음) — Its upright form is seen obliquely above the central area of the intersection; used as Anchors the elderly man's position within the wide intersection; 떨어진 지팡이 (노인 곁 바닥에 떨어져 있음) — The cane lies at an oblique angle beside the elderly man's body; used as Provides a small secondary marker that clarifies the figure's vulnerability.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The flickering streetlamp casts unstable evening light that stretches across the wet pavement in a restrained, slightly desaturated low-key palette.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man is positioned on his side on the wet ground at the center of the intersection, with his eyes closed and his cane on the ground beside him. The text does not specify the exact arrangement of his arms or legs or which side of his body faces downward.\n\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The elderly man is positioned on his side on the wet ground at the center of the intersection, with his eyes closed and his cane on the ground beside him, wearing a gray coat.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 노인 (한국인 노년 얼굴, 70대의 주름진 얼굴선, 자연스러운 동아시아계 이목구비, 회백색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.", "B": "Replace every grey or outlined mannequin figure in the FIRST attached\nimage with the real people the CHARACTER REFERENCE images show, and\noutput a photorealistic film still. Each mannequin becomes the character\nwhose POSE CANON and the shot text match that figure's pose and\nposition; never repeat one person across two mannequins. If no CHARACTER\nREFERENCE image is attached for a figure, still replace it with a\nplausible real person consistent with the text. Every mannequin becomes\na person — erasing a figure, or leaving one out, is not a replacement,\nand the number of figures never changes.\n\nKEEP EXACTLY: the background of the first image, the camera framing,\nand each mannequin's position, size, pose and the direction it is\nturned. A person must be exactly where their mannequin was, at the same\nscale, in the same pose, facing the same way — never mirrored, never\nre-staged, never straightened up, stood upright or otherwise re-posed.\nNo mannequin, grey figure or sketch line may remain anywhere in the\noutput.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 켜진 가로등 불빛이 흔들리는 젖은 사거리 한가운데에 노인이 눈을 감고 누워 있는 전경.\n\nLOCATION (lock): Outdoors at the wet center of a four-way alley intersection, directly beneath the reach of a flickering streetlamp. The lamp glow stretches across the rain-slick pavement. The shot takes place here — the FIRST attached image (SHOT BACKGROUND) is this exact place, already built: its ground, structures, horizon, materials and lighting are the finished truth of this location and must not be redesigned or replaced. No location photograph is attached — read the place from that image alone, and add no scenery, structure, vehicle or fixture that it does not already show. This lock governs the place only; the figures in the shot follow the staging and pose instructions.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 네 갈래 사거리 (네 방향으로 갈라져 있음) — The four branches radiate from the elderly man's central position toward separate frame edges; used as Creates the wide geometric isolation around the small central figure; 젖은 바닥 (젖어 있으며 가로등 불빛이 길게 번져 있음) — The surface reflects the flickering streetlamp light in an elongated patch around and beyond the elderly man; used as Separates the body from the surrounding road through reflected light; 가로등 (켜진 채 깜빡이고 있음) — Its upright form is seen obliquely above the central area of the intersection; used as Anchors the elderly man's position within the wide intersection; 떨어진 지팡이 (노인 곁 바닥에 떨어져 있음) — The cane lies at an oblique angle beside the elderly man's body; used as Provides a small secondary marker that clarifies the figure's vulnerability.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The flickering streetlamp casts unstable evening light that stretches across the wet pavement in a restrained, slightly desaturated low-key palette.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man is positioned on his side on the wet ground at the center of the intersection, with his eyes closed and his cane on the ground beside him. The text does not specify the exact arrangement of his arms or legs or which side of his body faces downward.\n\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The elderly man is positioned on his side on the wet ground at the center of the intersection, with his eyes closed and his cane on the ground beside him, wearing a gray coat.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 노인 (한국인 노년 얼굴, 70대의 주름진 얼굴선, 자연스러운 동아시아계 이목구비, 회백색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, but reframe like a film director choosing a different setup — a different angle, height, distance or foreground layer from the obvious one. For this candidate only, treat the CAMERA & FRAME contract above as a baseline to depart from, not a lock; the references and the shot text fix WHAT is seen, not WHERE the camera stands. Stay true to any explicit framing the SHOT TEXT itself dictates." }, "roll_refs": { "A": [ { "label": "SHOT BACKGROUND", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/scene/recipe/S2sh1__bgfirst_bg.png", "asset_id": "2835994f-7729-416e-8701-2e7e639389c3", "role": "bgfirst_bg" }, { "label": "CHARACTER REFERENCE — 노인: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "b270444d-3225-4ef4-a8d9-ff15be16dda3", "role": "character_ref" } ], "B": [ { "label": "SHOT BACKGROUND", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/scene/recipe/S2sh1__bgfirst_bg.png", "asset_id": "2835994f-7729-416e-8701-2e7e639389c3", "role": "bgfirst_bg" }, { "label": "CHARACTER REFERENCE — 노인: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "b270444d-3225-4ef4-a8d9-ff15be16dda3", "role": "character_ref" } ] }, "shot_run_spend_attempt_count": 1, "gq": { "route": "combined", "gap": 0.25, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] }, "dual": { "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "normalized": { "A": 1.75, "B": 1.857 }, "adjusted": { "A": 1.75, "B": 1.857 }, "violations": {}, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "B" }, "agreed": false }, "totals": { "A": 1750, "B": 1857 }, "selected": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "A", "score": 1750, "verdict_ko": "프롬프트가 요구한 도로 위 '천천히' 텍스트는 누락되었으나, 레퍼런스의 배경 구도, 노인의 외양 및 쓰러진 자세를 전반적으로 충실히 구현함." }, { "label": "B", "score": 1857, "verdict_ko": "구도와 의상은 잘 구현되었으나 도로 위 텍스트가 누락되었고, 후보 A에 비해 얼굴과 손가락의 세부 묘사에서 다소 어색한 왜곡이 발견됨." } ], "refs": [ { "label": "SHOT BACKGROUND", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/scene/recipe/S2sh1__bgfirst_bg.png", "asset_id": "2835994f-7729-416e-8701-2e7e639389c3", "role": "bgfirst_bg" }, { "label": "CHARACTER REFERENCE — 노인: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "b270444d-3225-4ef4-a8d9-ff15be16dda3", "role": "character_ref" } ], "critique": { "issues": [ { "issue_ko": "의식을 잃고 쓰러진 설정임에도 노인의 머리가 바닥에 완전히 닿지 않고 공중에 들려 있어 목에 근육의 힘이 들어간 상태로 렌더링됨.", "fix_en": "Lower the elderly man's head so it rests completely flat and limp on the wet pavement, removing the unnatural neck tension. Keep his body position, clothing, the cane beside him, the lighting, and the surrounding intersection exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "critical", "observation_index": 0, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "캐릭터 레퍼런스 이미지에 명시된 두꺼운 회색 반장갑이 누워 있는 노인의 왼손에는 묘사되지 않고 맨손으로 나타남.", "fix_en": "Draw a thick gray fingerless glove on the elderly man's bare left hand to match the character reference. Keep his pose, the rest of his clothing, the cane, and the surrounding wet pavement exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "minor", "observation_index": 1, "needs_ref_indices": [ 2 ], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "화면 중앙 사거리에 누운 노인이 원본 마네킹처럼 팔을 앞으로 뻗고 다리를 편 채 엎드리다시피 한 자세가 아니라 무릎을 접고 옆으로 말린 자세다.", "fix_en": "Extend the elderly man's left leg straight out and adjust his right knee to match the less-curled pose of the reference mannequin. Keep his upper body, clothing, the cane, and the surrounding wet intersection exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 2, "needs_ref_indices": [ 1 ], "adds_missing_entity": false, "missing_entity_name": "" } ], "observer_observations": [ { "issue_ko": "의식을 잃고 쓰러진 설정임에도 노인의 머리가 바닥에 완전히 닿지 않고 공중에 들려 있어 목에 근육의 힘이 들어간 상태로 렌더링됨.", "severity": "critical" }, { "issue_ko": "캐릭터 레퍼런스 이미지에 명시된 두꺼운 회색 반장갑이 누워 있는 노인의 왼손에는 묘사되지 않고 맨손으로 나타남.", "severity": "minor" }, { "issue_ko": "화면 중앙 사거리에 누운 노인이 원본 마네킹처럼 팔을 앞으로 뻗고 다리를 편 채 엎드리다시피 한 자세가 아니라 무릎을 접고 옆으로 말린 자세다.", "severity": "major" } ], "observer_models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "observer_counts": { "gemini-pro": 2, "openrouter:x-ai/grok-4.6": 1 } }, "fix_severity_skipped_count": 2, "fix_severity_skipped": [ { "issue_ko": "캐릭터 레퍼런스 이미지에 명시된 두꺼운 회색 반장갑이 누워 있는 노인의 왼손에는 묘사되지 않고 맨손으로 나타남.", "fix_en": "Draw a thick gray fingerless glove on the elderly man's bare left hand to match the character reference. Keep his pose, the rest of his clothing, the cane, and the surrounding wet pavement exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "minor", "observation_index": 1, "needs_ref_indices": [ 2 ], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "화면 중앙 사거리에 누운 노인이 원본 마네킹처럼 팔을 앞으로 뻗고 다리를 편 채 엎드리다시피 한 자세가 아니라 무릎을 접고 옆으로 말린 자세다.", "fix_en": "Extend the elderly man's left leg straight out and adjust his right knee to match the less-curled pose of the reference mannequin. Keep his upper body, clothing, the cane, and the surrounding wet intersection exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 2, "needs_ref_indices": [ 1 ], "adds_missing_entity": false, "missing_entity_name": "" } ], "repair_mode": "edit", "fix_ref_gate": { "mode": "gated", "available": 2, "kept": 0, "requested_indices": [], "kept_labels": [] }, "fix_ref_count": 1, "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Lower the elderly man's head so it rests completely flat and limp on the wet pavement, removing the unnatural neck tension. Keep his body position, clothing, the cane beside him, the lighting, and the surrounding intersection exactly as they are.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. Real-world writing that belongs\nto the scene — signs, banners, documents — stays exactly as the\noriginal shows it; do not add captions, subtitles, watermarks or\nany overlay text.", "fix_rejudge": { "forward_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 9, "verdict_ko": "원본 배경의 젖은 아스팔트 질감과 조명을 자연스럽게 유지하면서 레퍼런스의 노인 캐릭터를 요구된 자세로 정확히 합성해 내어 전반적인 완성도가 높습니다." }, { "label": "B", "score": 4, "verdict_ko": "캐릭터와 구도는 지시사항을 따랐으나, 가로등 빛이 반사되는 바닥 영역에 비현실적인 기하학적 펜선 패턴이 생성되어 사진적 사실성을 크게 훼손했습니다." } ], "readings": [ { "label": "A", "direction": "노인은 눈을 감고 바닥에 누워 있으며, 시선이나 방향성을 가지는 행동을 하지 않음.", "built_space": "원본 배경의 네 갈래 사거리, 주변 건물, 켜진 가로등이 정확히 유지됨.", "entities": "회색 비니와 점퍼를 입은 노인이 눈을 감고 누워 있으며, 곁에 지팡이가 떨어져 있음. 캐릭터 레퍼런스의 인상과 복장이 잘 반영됨.", "hard_violations": [], "physics": "노인의 몸 전체와 곁에 놓인 지팡이가 젖은 아스팔트 바닥에 중력에 맞게 자연스럽게 지탱되어 있음." }, { "label": "B", "direction": "노인은 눈을 감고 바닥에 누워 있으며, 시선이나 방향성을 가지는 행동을 하지 않음.", "built_space": "건물과 사거리 구조, 가로등 위치는 유지되었으나 바닥 면의 재질 표현이 붕괴됨.", "entities": "회색 비니와 점퍼를 입은 노인과 지팡이가 존재함.", "hard_violations": [ "바닥의 빛 반사 영역에 인공적이고 기하학적인 무늬(낙서나 그래픽 오버레이 같은 선들)가 덮여 있어 재질 현실성(MATERIAL REALISM)을 완전히 위반함." ], "physics": "노인의 인체와 지팡이는 바닥에 놓여 있으나, 바닥면 자체의 시각적 물리성이 깨져 있음." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "forward_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 9, "verdict_ko": "원본 배경의 젖은 아스팔트 질감과 조명을 자연스럽게 유지하면서 레퍼런스의 노인 캐릭터를 요구된 자세로 정확히 합성해 내어 전반적인 완성도가 높습니다." }, { "label": "B", "score": 4, "verdict_ko": "캐릭터와 구도는 지시사항을 따랐으나, 가로등 빛이 반사되는 바닥 영역에 비현실적인 기하학적 펜선 패턴이 생성되어 사진적 사실성을 크게 훼손했습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "A", "direction": "노인은 눈을 감고 바닥에 누워 있으며, 시선이나 방향성을 가지는 행동을 하지 않음.", "built_space": "원본 배경의 네 갈래 사거리, 주변 건물, 켜진 가로등이 정확히 유지됨.", "entities": "회색 비니와 점퍼를 입은 노인이 눈을 감고 누워 있으며, 곁에 지팡이가 떨어져 있음. 캐릭터 레퍼런스의 인상과 복장이 잘 반영됨.", "hard_violations": [], "physics": "노인의 몸 전체와 곁에 놓인 지팡이가 젖은 아스팔트 바닥에 중력에 맞게 자연스럽게 지탱되어 있음." }, { "label": "B", "direction": "노인은 눈을 감고 바닥에 누워 있으며, 시선이나 방향성을 가지는 행동을 하지 않음.", "built_space": "건물과 사거리 구조, 가로등 위치는 유지되었으나 바닥 면의 재질 표현이 붕괴됨.", "entities": "회색 비니와 점퍼를 입은 노인과 지팡이가 존재함.", "hard_violations": [ "바닥의 빛 반사 영역에 인공적이고 기하학적인 무늬(낙서나 그래픽 오버레이 같은 선들)가 덮여 있어 재질 현실성(MATERIAL REALISM)을 완전히 위반함." ], "physics": "노인의 인체와 지팡이는 바닥에 놓여 있으나, 바닥면 자체의 시각적 물리성이 깨져 있음." } ] }, "reverse_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 9, "verdict_ko": "지정된 원본 배경의 질감과 조명을 그대로 유지하면서, 레퍼런스 인물의 인상과 의상, 지시된 포즈를 화면 내에 자연스럽고 정확하게 합성해 냈습니다." }, { "label": "A", "score": 5, "verdict_ko": "인물의 포즈와 배치는 준수하나, 전경 바닥의 물웅덩이 반사 영역에 인공적인 기하학적 왜곡 패턴(지렁이 모양 선들)이 무작위로 생성되어 고정되어야 할 배경을 크게 훼손했습니다." } ], "readings": [ { "label": "B", "direction": "노인의 눈은 감겨 있으며, 지팡이는 노인 곁 바닥에 사선으로 놓여 있음.", "built_space": "야외의 네 갈래 사거리 전경으로, 우측에 가로등이 서 있고 바닥은 젖은 아스팔트로 이루어져 있음.", "entities": "노인(레퍼런스와 일치하는 회색 비니, 회색 재킷 착용, 감은 눈), 떨어져 있는 지팡이, 켜진 가로등 모두 프롬프트 및 레퍼런스와 일치함.", "hard_violations": [], "physics": "노인의 몸 전체와 지팡이는 젖은 사거리 바닥에 중력에 맞게 자연스럽게 지지되어 있음." }, { "label": "A", "direction": "노인의 눈은 감겨 있으며, 지팡이는 몸 아래쪽 바닥에 놓여 있음.", "built_space": "야외의 네 갈래 사거리이나, 전경 바닥의 젖은 질감 표현에 기이한 패턴이 생성되어 있음.", "entities": "노인(비니와 재킷 착용), 지팡이, 가로등이 존재하나 바닥 표면에 원치 않는 인공적인 선형 패턴들이 나타남.", "hard_violations": [], "physics": "노인의 몸과 지팡이는 젖은 바닥면에 닿아 지지되어 있음." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "reverse_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 9, "verdict_ko": "지정된 원본 배경의 질감과 조명을 그대로 유지하면서, 레퍼런스 인물의 인상과 의상, 지시된 포즈를 화면 내에 자연스럽고 정확하게 합성해 냈습니다." }, { "label": "B", "score": 5, "verdict_ko": "인물의 포즈와 배치는 준수하나, 전경 바닥의 물웅덩이 반사 영역에 인공적인 기하학적 왜곡 패턴(지렁이 모양 선들)이 무작위로 생성되어 고정되어야 할 배경을 크게 훼손했습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "A", "direction": "노인의 눈은 감겨 있으며, 지팡이는 노인 곁 바닥에 사선으로 놓여 있음.", "built_space": "야외의 네 갈래 사거리 전경으로, 우측에 가로등이 서 있고 바닥은 젖은 아스팔트로 이루어져 있음.", "entities": "노인(레퍼런스와 일치하는 회색 비니, 회색 재킷 착용, 감은 눈), 떨어져 있는 지팡이, 켜진 가로등 모두 프롬프트 및 레퍼런스와 일치함.", "hard_violations": [], "physics": "노인의 몸 전체와 지팡이는 젖은 사거리 바닥에 중력에 맞게 자연스럽게 지지되어 있음." }, { "label": "B", "direction": "노인의 눈은 감겨 있으며, 지팡이는 몸 아래쪽 바닥에 놓여 있음.", "built_space": "야외의 네 갈래 사거리이나, 전경 바닥의 젖은 질감 표현에 기이한 패턴이 생성되어 있음.", "entities": "노인(비니와 재킷 착용), 지팡이, 가로등이 존재하나 바닥 표면에 원치 않는 인공적인 선형 패턴들이 나타남.", "hard_violations": [], "physics": "노인의 몸과 지팡이는 젖은 바닥면에 닿아 지지되어 있음." } ] }, "combined": { "totals": { "A": 18, "B": 9 }, "ranking": [ "A", "B" ], "agreement": true, "policy": 1 }, "winner": "A", "fix_won": false, "all_candidates_fail": false, "policy": "fix_rejudge_v2_orig_on_tie" }, "shot_run_produced": false, "shot_run_uid": "06a8eccd-68b0-79c7-acc2-944d8455f1b7", "bgfirst": { "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/scene/recipe/S2sh1__bgfirst_bg.png", "bg_asset_id": "2835994f-7729-416e-8701-2e7e639389c3", "bg_record_key": "S2sh1::bgfirst_bg", "chain_winner": true, "authority": "lane_conti_only" }, "ref_mode": "lane(map_marker): 스케치+엔티티", "share_plan": { "ref_plan": "background" } }, "S2sh1::cine": { "applied": true, "attempted_at": "2026-08-26T10:13:18.552495+00:00", "fingerprint": "9060b157ed35a4ab45a652074cd050c7c60c03a41c286c0fe51f478e12d32879", "fingerprint_version": 2, "provider": "reve", "endpoint": "reve/2.1/edit", "model": "reve/2.1/edit", "pack": "24.202608252115", "source_file": "S2sh1_sel.png", "source_sha256": "6492ed3e2278bb2fb155006e0588eca450adfc3be58c5286b059c75adcaae6c0", "file": "S2sh1_cine.png", "staged_sha256": "4551a7541729e96e76f706e594c784f5b4af7e7a8a95d72ef771256f15b2157b", "latency_ms": 85376, "request_id": "01a03d8f-61c3-7b93-bf32-6ebdd8d93389", "status_url": "https://queue.fal.run/reve/2.1/requests/01a03d8f-61c3-7b93-bf32-6ebdd8d93389/status", "response_url": "https://queue.fal.run/reve/2.1/requests/01a03d8f-61c3-7b93-bf32-6ebdd8d93389", "submitted_at": "2026-08-26T10:13:22.004823+00:00", "verify": { "ok": true, "broken": [], "split": [], "findings": { "anatomy": { "sound": true, "note": "", "agreed": true }, "object_integrity": { "sound": true, "note": "", "agreed": true }, "support": { "sound": true, "note": "", "agreed": true }, "duplication": { "sound": true, "note": "", "agreed": true } }, "rounds": 2, "requested": 2, "complete": true, "judged_size": [ 1376, 768 ], "contract": "97c32fc3dd5c7541", "error": null } }, "S2sh3::signage": { "fp": "52c227e2fcd8869f", "inscriptions": [ { "surface_native": "아스팔트 노면", "text_native": "천천히", "reason_ko": "골목길 교차로 바닥에 흔히 그려진 교통안전 표시로, 쓰러진 노인의 머리 옆 아스팔트 위에 적혀 있어 현장의 사실감을 높입니다." } ] }, "S2sh3": { "input_fingerprint": "38b8ee1ff3a73717", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 연희가 앞으로 뻗은 손전등의 원형 불빛이 바닥에 누운 노인의 눈 감은 얼굴 위를 비춘 찰나.\n\nLOCATION (lock): On the wet pavement at the center of the outdoor four-way alley intersection, around the fallen person's head and face. A handheld flashlight beam lands on his face amid the flickering streetlamp glow. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 노인 in the lower-center of the frame, foreground; 연희 in the upper-right of the frame, background, looks toward 노인의 illuminated face.\n- KEY BACKGROUND ELEMENTS: 젖은 사거리 바닥 (젖어 있으며 가로등 불빛이 번져 있음) — The surface reflects subdued streetlamp light around the elderly man's head and shoulder; used as Provides a close-range ground plane and scale reference behind the illuminated face; 떨어진 지팡이 (노인 곁 바닥에 떨어져 있음) — Only an oblique portion of the cane remains visible farther from his upper body; used as Retains continuity with the wider intersection without competing with the 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The flashlight creates a localized circle across the elderly man's face while the flickering streetlamp and its reflection provide subdued evening context.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The clothing, hair and overall look of 노인 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the wet pavement, evening streetlight cast, and the elderly man lying motionless in his gray coat from the reference. Preserve his position on the intersection while adding the circular flashlight beam on his face. Exclude the wide four-way-road view, the visible streetlamp fixture, and the fallen cane if they fall outside this tighter facial framing.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man is positioned on his side on the wet ground at the center of the intersection, with his eyes closed and his cane on the ground beside him. The text does not specify the exact arrangement of his arms or legs or which side of his body faces downward.\n\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The old man remains on his side with closed eyes in his gray coat, with the cane beside him. Yeon-hee still wears the yellow raincoat and holds the switched-on flashlight, aiming its beam toward his face.\n\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 연희 right now, so 연희's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 연희: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else. Nothing else of them needs to be in shot; the framing stays on the object.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인 여성 얼굴, 20대의 젊은 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락); 노인 (한국인 노년 얼굴, 70대의 주름진 얼굴선, 자연스러운 동아시아계 이목구비, 회백색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 아스팔트 노면: \"천천히\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.", "roll_prompts": { "A": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 연희가 앞으로 뻗은 손전등의 원형 불빛이 바닥에 누운 노인의 눈 감은 얼굴 위를 비춘 찰나.\n\nLOCATION (lock): On the wet pavement at the center of the outdoor four-way alley intersection, around the fallen person's head and face. A handheld flashlight beam lands on his face amid the flickering streetlamp glow. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 노인 in the lower-center of the frame, foreground; 연희 in the upper-right of the frame, background, looks toward 노인의 illuminated face.\n- KEY BACKGROUND ELEMENTS: 젖은 사거리 바닥 (젖어 있으며 가로등 불빛이 번져 있음) — The surface reflects subdued streetlamp light around the elderly man's head and shoulder; used as Provides a close-range ground plane and scale reference behind the illuminated face; 떨어진 지팡이 (노인 곁 바닥에 떨어져 있음) — Only an oblique portion of the cane remains visible farther from his upper body; used as Retains continuity with the wider intersection without competing with the 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The flashlight creates a localized circle across the elderly man's face while the flickering streetlamp and its reflection provide subdued evening context.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The clothing, hair and overall look of 노인 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the wet pavement, evening streetlight cast, and the elderly man lying motionless in his gray coat from the reference. Preserve his position on the intersection while adding the circular flashlight beam on his face. Exclude the wide four-way-road view, the visible streetlamp fixture, and the fallen cane if they fall outside this tighter facial framing.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man is positioned on his side on the wet ground at the center of the intersection, with his eyes closed and his cane on the ground beside him. The text does not specify the exact arrangement of his arms or legs or which side of his body faces downward.\n\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The old man remains on his side with closed eyes in his gray coat, with the cane beside him. Yeon-hee still wears the yellow raincoat and holds the switched-on flashlight, aiming its beam toward his face.\n\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 연희 right now, so 연희's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 연희: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else. Nothing else of them needs to be in shot; the framing stays on the object.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인 여성 얼굴, 20대의 젊은 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락); 노인 (한국인 노년 얼굴, 70대의 주름진 얼굴선, 자연스러운 동아시아계 이목구비, 회백색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 아스팔트 노면: \"천천히\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.", "B": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 연희가 앞으로 뻗은 손전등의 원형 불빛이 바닥에 누운 노인의 눈 감은 얼굴 위를 비춘 찰나.\n\nLOCATION (lock): On the wet pavement at the center of the outdoor four-way alley intersection, around the fallen person's head and face. A handheld flashlight beam lands on his face amid the flickering streetlamp glow. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 노인 in the lower-center of the frame, foreground; 연희 in the upper-right of the frame, background, looks toward 노인의 illuminated face.\n- KEY BACKGROUND ELEMENTS: 젖은 사거리 바닥 (젖어 있으며 가로등 불빛이 번져 있음) — The surface reflects subdued streetlamp light around the elderly man's head and shoulder; used as Provides a close-range ground plane and scale reference behind the illuminated face; 떨어진 지팡이 (노인 곁 바닥에 떨어져 있음) — Only an oblique portion of the cane remains visible farther from his upper body; used as Retains continuity with the wider intersection without competing with the 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The flashlight creates a localized circle across the elderly man's face while the flickering streetlamp and its reflection provide subdued evening context.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The clothing, hair and overall look of 노인 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the wet pavement, evening streetlight cast, and the elderly man lying motionless in his gray coat from the reference. Preserve his position on the intersection while adding the circular flashlight beam on his face. Exclude the wide four-way-road view, the visible streetlamp fixture, and the fallen cane if they fall outside this tighter facial framing.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man is positioned on his side on the wet ground at the center of the intersection, with his eyes closed and his cane on the ground beside him. The text does not specify the exact arrangement of his arms or legs or which side of his body faces downward.\n\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The old man remains on his side with closed eyes in his gray coat, with the cane beside him. Yeon-hee still wears the yellow raincoat and holds the switched-on flashlight, aiming its beam toward his face.\n\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 연희 right now, so 연희's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 연희: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else. Nothing else of them needs to be in shot; the framing stays on the object.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인 여성 얼굴, 20대의 젊은 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락); 노인 (한국인 노년 얼굴, 70대의 주름진 얼굴선, 자연스러운 동아시아계 이목구비, 회백색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 아스팔트 노면: \"천천히\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, but reframe like a film director choosing a different setup — a different angle, height, distance or foreground layer from the obvious one. For this candidate only, treat the CAMERA & FRAME contract above as a baseline to depart from, not a lock; the references and the shot text fix WHAT is seen, not WHERE the camera stands. Stay true to any explicit framing the SHOT TEXT itself dictates." }, "shot_run_spend_attempt_count": 1, "readings": [ { "label": "A", "direction": "연희의 시선과 손전등의 빛이 노인의 얼굴이 아닌 가슴과 어깨 부근을 향하고 있음.", "built_space": "젖은 사거리 골목길 교차로이며, 배경에 가로등 불빛이 보임.", "entities": "연희(노란색 우비, 짙은 머리카락), 노인(회색 코트, 회백색 머리카락, 레퍼런스의 털모자 누락), 휴대용 손전등, 바닥에 떨어진 지팡이, 노면에 쓰인 '천천히' 텍스트가 확인됨.", "hard_violations": [], "physics": "노인은 바닥에 누워 중력의 지탱을 받고 있으며, 연희는 손전등을 손으로 쥐고 웅크린 자세를 유지함." }, { "label": "B", "direction": "연희의 시선과 손전등의 빛이 노인의 얼굴을 정확하게 향하고 있으며, 얼굴 위에 둥근 불빛이 맺힘.", "built_space": "젖은 사거리 골목길 교차로이며, 배경에 가로등 불빛이 보임.", "entities": "연희(노란색 우비, 짙은 머리카락), 노인(회색 코트, 레퍼런스와 동일한 털모자 착용), 휴대용 손전등, 바닥에 떨어진 지팡이가 확인됨. 요구된 노면의 '천천히' 텍스트는 보이지 않음.", "hard_violations": [], "physics": "노인은 바닥에 누워 자연스럽게 지탱받고 있으며, 연희는 손전등을 손에 쥐고 몸을 굽힌 자세를 지지하고 있음." } ], "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] }, "totals": { "A": 5, "B": 8 }, "selected": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "A", "score": 5, "verdict_ko": "노면의 텍스트는 훌륭하게 구현했으나, 손전등과 시선이 얼굴이 아닌 가슴을 향해 핵심 액션을 놓쳤으며, 이전 샷에서 고정된 노인의 털모자를 누락하여 캐릭터 연속성을 크게 훼손했습니다." }, { "label": "B", "score": 8, "verdict_ko": "노면의 텍스트가 누락된 점은 아쉽지만, 연희의 시선과 손전등이 얼굴을 정확히 향해 지시된 둥근 국소 조명 효과를 완벽하게 연출했고 이전 샷의 털모자 복장도 올바르게 유지해 우선순위에서 앞섭니다." } ], "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features and lighting mood are LOCKED to this photo; never copy its camera framing. The clothing, hair and overall look of 노인 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/scene/recipe/S2sh1_sel.png", "asset_id": "b7f4a5bb-8b7e-44ea-9c81-c1c09fdf12a4", "role": "prev_still" }, { "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "6cb0dd0a-53a9-474c-936d-5756571b82b4", "role": "character_ref" }, { "label": "PROP REFERENCE — 휴대용 손전등: the exact object appearing in this shot; match its look, material and wear exactly.", "path": "", "asset_id": "4fa5b417-bedc-4251-94c7-3293a5d488c8", "role": "prop_ref" } ], "critique": { "issues": [ { "issue_ko": "연희가 든 손전등이 향한 방향과 무관하게 노인의 얼굴과 어깨에 별도의 강한 빛이 위에서 아래로 비추고 있으며, 프롬프트가 지시한 '앞으로 뻗은' 팔 자세가 아님 (우측 상단 및 중앙).", "fix_en": "Redraw Yeon-hee's right arm to extend straight forward, aiming the flashlight directly at the elderly man's face; adjust the lighting so the bright beam on his face clearly originates from her flashlight, removing the disconnected overhead spotlight effect. Preserve Yeon-hee's face, her yellow raincoat, the elderly man's pose and gray coat, the wet pavement, and the background alley.", "unfixable": false, "needs_regeneration": false, "severity": "critical", "observation_index": 0, "needs_ref_indices": [ 2, 3 ], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "화면 좌측 바닥에 놓인 지팡이의 긴 막대 부분이 사라지고 손잡이 부분만 불완전하게 잘려 있음.", "fix_en": "Redraw the cane on the pavement to the left so that its wooden shaft extends naturally from the curved handle instead of being cut off abruptly. Preserve the elderly man, his coat, the wet pavement, and the overall lighting.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 1, "needs_ref_indices": [ 1 ], "adds_missing_entity": false, "missing_entity_name": "" } ], "observer_observations": [ { "issue_ko": "연희가 든 손전등이 향한 방향과 무관하게 노인의 얼굴과 어깨에 별도의 강한 빛이 위에서 아래로 비추고 있으며, 프롬프트가 지시한 '앞으로 뻗은' 팔 자세가 아님 (우측 상단 및 중앙).", "severity": "critical" }, { "issue_ko": "화면 좌측 바닥에 놓인 지팡이의 긴 막대 부분이 사라지고 손잡이 부분만 불완전하게 잘려 있음.", "severity": "major" }, { "issue_ko": "우측 상단 연희가 든 손전등이 노인의 얼굴이 아니라 회색 코트 어깨를 향해 비춘다.", "severity": "major" }, { "issue_ko": "연희가 손전등을 앞으로 뻗지 않고 팔꿈치를 굽혀 몸 가까이에 들고 있다.", "severity": "major" } ], "observer_models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "observer_counts": { "gemini-pro": 2, "openrouter:x-ai/grok-4.6": 2 } }, "fix_severity_skipped_count": 1, "fix_severity_skipped": [ { "issue_ko": "화면 좌측 바닥에 놓인 지팡이의 긴 막대 부분이 사라지고 손잡이 부분만 불완전하게 잘려 있음.", "fix_en": "Redraw the cane on the pavement to the left so that its wooden shaft extends naturally from the curved handle instead of being cut off abruptly. Preserve the elderly man, his coat, the wet pavement, and the overall lighting.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 1, "needs_ref_indices": [ 1 ], "adds_missing_entity": false, "missing_entity_name": "" } ], "repair_mode": "edit", "fix_ref_gate": { "mode": "gated", "available": 3, "kept": 2, "requested_indices": [ 2, 3 ], "kept_labels": [ "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 휴대용 손전등: the exact object appearing in this shot; match its look, material and wear exactly." ] }, "fix_ref_count": 3, "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Redraw Yeon-hee's right arm to extend straight forward, aiming the flashlight directly at the elderly man's face; adjust the lighting so the bright beam on his face clearly originates from her flashlight, removing the disconnected overhead spotlight effect. Preserve Yeon-hee's face, her yellow raincoat, the elderly man's pose and gray coat, the wet pavement, and the background alley.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. Real-world writing that belongs\nto the scene — signs, banners, documents — stays exactly as the\noriginal shows it; do not add captions, subtitles, watermarks or\nany overlay text.", "fix_rejudge": { "forward_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 1667, "verdict_ko": "연희가 팔을 앞으로 뻗어 손전등을 노인의 얼굴에 비추는 행동과 원형 불빛의 방향이 지시문과 정확히 일치하며 훌륭하게 구현되었습니다." }, { "label": "A", "score": 1350, "verdict_ko": "연희가 손전등을 든 팔을 앞으로 뻗지 않았으며, 손전등 렌즈가 향한 방향과 노인 얼굴에 맺힌 조명의 방향이 물리적으로 일치하지 않습니다. ★위반: [gemini-pro] 손전등의 렌즈가 노인의 얼굴이 아닌 다른 곳을 향하고 있음에도 노인의 얼굴에 빛이 맺히는 물리적으로 불가능한 조명 방향" } ], "all_candidates_fail": false, "dual": { "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "normalized": { "A": 1.6, "B": 1.667 }, "adjusted": { "A": 1.35, "B": 1.667 }, "violations": { "A": [ "[gemini-pro] 손전등의 렌즈가 노인의 얼굴이 아닌 다른 곳을 향하고 있음에도 노인의 얼굴에 빛이 맺히는 물리적으로 불가능한 조명 방향" ] }, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "A" }, "agreed": false }, "gq": { "route": "combined", "gap": 0.333, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "forward_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 1667, "verdict_ko": "연희가 팔을 앞으로 뻗어 손전등을 노인의 얼굴에 비추는 행동과 원형 불빛의 방향이 지시문과 정확히 일치하며 훌륭하게 구현되었습니다." }, { "label": "A", "score": 1350, "verdict_ko": "연희가 손전등을 든 팔을 앞으로 뻗지 않았으며, 손전등 렌즈가 향한 방향과 노인 얼굴에 맺힌 조명의 방향이 물리적으로 일치하지 않습니다. ★위반: [gemini-pro] 손전등의 렌즈가 노인의 얼굴이 아닌 다른 곳을 향하고 있음에도 노인의 얼굴에 빛이 맺히는 물리적으로 불가능한 조명 방향" } ], "all_candidates_fail": false }, "reverse_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 8, "verdict_ko": "팔을 앞으로 뻗어 손전등을 비추는 행동 지문과 빛의 방향을 잘 구현했으나, 요구된 노면의 '천천히' 텍스트가 누락되었습니다." }, { "label": "B", "score": 5, "verdict_ko": "손전등을 쥔 팔을 앞으로 뻗지 않았으며, 노인 얼굴에 맺힌 원형 불빛이 손전등의 조사 각도와 물리적으로 어긋나 보입니다." } ], "readings": [ { "label": "A", "direction": "연희가 앞으로 뻗은 팔로 손전등을 노인의 얼굴을 향해 겨누고 있으며, 광선이 노인의 얼굴과 머리에 정확히 닿고 있습니다.", "built_space": "젖은 사거리 골목길 바닥이며, 배경에 가로등이 올바르게 위치하여 공간감을 형성합니다.", "entities": "연희(노란 우비, 외모)와 노인(회색 코트, 비니, 눈 감은 얼굴) 모두 레퍼런스와 일치합니다. 손전등과 바닥의 지팡이도 존재하지만, 노면의 '천천히' 텍스트는 누락되었습니다.", "hard_violations": [], "physics": "노인은 바닥에 자연스럽게 누워 중력의 지지를 받고 있으며, 연희의 손은 손전등을 올바른 파지법으로 쥐고 있습니다." }, { "label": "B", "direction": "연희가 손전등을 아래로 향하게 들고 있으나 광선이 보이지 않고, 노인 얼굴에 맺힌 밝은 원형 불빛의 각도가 손전등의 위치와 일치하지 않습니다.", "built_space": "젖은 사거리 골목길 바닥이며, 배경의 가로등과 골목길 구조가 잘 표현되었습니다.", "entities": "연희와 노인의 외모, 복장이 레퍼런스와 일치하며 지팡이와 손전등도 존재합니다. 바닥의 '천천히' 텍스트는 누락되었습니다.", "hard_violations": [], "physics": "노인의 몸은 바닥에 잘 밀착되어 있고 손전등도 손에 쥐어져 있으나, 광원의 물리적 방향과 얼굴에 맺힌 빛의 관계가 부자연스럽습니다." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "reverse_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 8, "verdict_ko": "팔을 앞으로 뻗어 손전등을 비추는 행동 지문과 빛의 방향을 잘 구현했으나, 요구된 노면의 '천천히' 텍스트가 누락되었습니다." }, { "label": "A", "score": 5, "verdict_ko": "손전등을 쥔 팔을 앞으로 뻗지 않았으며, 노인 얼굴에 맺힌 원형 불빛이 손전등의 조사 각도와 물리적으로 어긋나 보입니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "연희가 앞으로 뻗은 팔로 손전등을 노인의 얼굴을 향해 겨누고 있으며, 광선이 노인의 얼굴과 머리에 정확히 닿고 있습니다.", "built_space": "젖은 사거리 골목길 바닥이며, 배경에 가로등이 올바르게 위치하여 공간감을 형성합니다.", "entities": "연희(노란 우비, 외모)와 노인(회색 코트, 비니, 눈 감은 얼굴) 모두 레퍼런스와 일치합니다. 손전등과 바닥의 지팡이도 존재하지만, 노면의 '천천히' 텍스트는 누락되었습니다.", "hard_violations": [], "physics": "노인은 바닥에 자연스럽게 누워 중력의 지지를 받고 있으며, 연희의 손은 손전등을 올바른 파지법으로 쥐고 있습니다." }, { "label": "A", "direction": "연희가 손전등을 아래로 향하게 들고 있으나 광선이 보이지 않고, 노인 얼굴에 맺힌 밝은 원형 불빛의 각도가 손전등의 위치와 일치하지 않습니다.", "built_space": "젖은 사거리 골목길 바닥이며, 배경의 가로등과 골목길 구조가 잘 표현되었습니다.", "entities": "연희와 노인의 외모, 복장이 레퍼런스와 일치하며 지팡이와 손전등도 존재합니다. 바닥의 '천천히' 텍스트는 누락되었습니다.", "hard_violations": [], "physics": "노인의 몸은 바닥에 잘 밀착되어 있고 손전등도 손에 쥐어져 있으나, 광원의 물리적 방향과 얼굴에 맺힌 빛의 관계가 부자연스럽습니다." } ] }, "combined": { "totals": { "A": 1355, "B": 1675 }, "ranking": [ "B", "A" ], "agreement": true, "policy": 1 }, "winner": "B", "fix_won": true, "all_candidates_fail": false, "policy": "fix_rejudge_v2_orig_on_tie" }, "shot_run_produced": false, "shot_run_uid": "06a8eccd-6943-7201-a026-e55d10037c8f", "ref_mode": "prev+엔티티", "share_plan": { "ref_plan": "prev", "prev_anchor_tag": "S2sh1" }, "locked_char_refs_excluded": [ "노인(C03)" ] }, "S2sh3::cine": { "applied": true, "attempted_at": "2026-08-26T10:28:20.802729+00:00", "fingerprint": "fb3d09148a6fba5750639c362977fd21ded6996e050a06ae4e1d0ab08d6f47e8", "fingerprint_version": 2, "provider": "reve", "endpoint": "reve/2.1/edit", "model": "reve/2.1/edit", "pack": "24.202608252115", "source_file": "S2sh3_sel.png", "source_sha256": "2a0fe78845e2e595321db76202176e938c499c59af4504a0de71fc429ca281a9", "file": "S2sh3_cine.png", "staged_sha256": "772e609fce4bbb9c308e8cc5d649c2fa2a3aa1cb6856711a7fa8b650c117c579", "latency_ms": 75894, "request_id": "01a03d9d-22ac-7b31-875e-b57baa3d9618", "status_url": "https://queue.fal.run/reve/2.1/requests/01a03d9d-22ac-7b31-875e-b57baa3d9618/status", "response_url": "https://queue.fal.run/reve/2.1/requests/01a03d9d-22ac-7b31-875e-b57baa3d9618", "submitted_at": "2026-08-26T10:28:23.406450+00:00", "verify": { "ok": true, "broken": [], "split": [], "findings": { "anatomy": { "sound": true, "note": "", "agreed": true }, "object_integrity": { "sound": true, "note": "", "agreed": true }, "support": { "sound": true, "note": "", "agreed": true }, "duplication": { "sound": true, "note": "", "agreed": true } }, "rounds": 2, "requested": 2, "complete": true, "judged_size": [ 1360, 752 ], "contract": "97c32fc3dd5c7541", "error": null } }, "S2sh6::signage": { "fp": "5b23df29091e2eff", "inscriptions": [ { "surface_native": "도로 바닥", "text_native": "천천히", "reason_ko": "골목길 교차로 아스팔트 바닥에 그려진 노면 표시를 통해 한국 골목길의 사실적인 공간감을 더합니다." } ] }, "S2sh6": { "input_fingerprint": "3e03aca1a92c7f83", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 바닥에 바짝 엎드리듯 고개를 숙인 채 노인의 얼굴 가까이 입을 댄 민수의 측면.\n\nLOCATION (lock): Low over the wet roadway at the center of the outdoor alley intersection, immediately beside the fallen person's face. The surrounding pavement is dimly lit by the flickering streetlamp. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 젖은 사거리 바닥 (젖어 있으며 가로등 불빛이 번져 있음) — The ground reflects broken streetlamp light beneath and behind the two profiles; used as Forms the immediate ground-level background and emphasizes Minsu's lowered 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Flickering streetlamp light and the localized flashlight illumination retain restrained low-key contrast on the two close profiles and the wet ground.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The clothing, hair and overall look of 노인 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the wet intersection surface, dim evening illumination, and the elderly man’s unchanged prone position and gray coat from the reference. Add the mechanic crouched extremely close to the man’s face. Exclude the broad intersection vista, the streetlamp fixture, and the fallen cane from this tight side framing.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man is positioned on his side on the wet ground at the center of the intersection, with his eyes closed and his cane on the ground beside him. The text does not specify the exact arrangement of his arms or legs or which side of his body faces downward.\n\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The unresponsive old man remains positioned on his side with his eyes closed, and his cane stays beside him. Yeon-hee retains the lit flashlight and yellow raincoat, while Min-soo remains in his navy work clothes beside the old man.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인 남성 얼굴, 40대 중년의 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락); 노인 (한국인 노년 얼굴, 70대의 주름진 얼굴선, 자연스러운 동아시아계 이목구비, 회백색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 도로 바닥: \"천천히\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.", "roll_prompts": { "A": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 바닥에 바짝 엎드리듯 고개를 숙인 채 노인의 얼굴 가까이 입을 댄 민수의 측면.\n\nLOCATION (lock): Low over the wet roadway at the center of the outdoor alley intersection, immediately beside the fallen person's face. The surrounding pavement is dimly lit by the flickering streetlamp. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 젖은 사거리 바닥 (젖어 있으며 가로등 불빛이 번져 있음) — The ground reflects broken streetlamp light beneath and behind the two profiles; used as Forms the immediate ground-level background and emphasizes Minsu's lowered 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Flickering streetlamp light and the localized flashlight illumination retain restrained low-key contrast on the two close profiles and the wet ground.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The clothing, hair and overall look of 노인 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the wet intersection surface, dim evening illumination, and the elderly man’s unchanged prone position and gray coat from the reference. Add the mechanic crouched extremely close to the man’s face. Exclude the broad intersection vista, the streetlamp fixture, and the fallen cane from this tight side framing.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man is positioned on his side on the wet ground at the center of the intersection, with his eyes closed and his cane on the ground beside him. The text does not specify the exact arrangement of his arms or legs or which side of his body faces downward.\n\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The unresponsive old man remains positioned on his side with his eyes closed, and his cane stays beside him. Yeon-hee retains the lit flashlight and yellow raincoat, while Min-soo remains in his navy work clothes beside the old man.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인 남성 얼굴, 40대 중년의 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락); 노인 (한국인 노년 얼굴, 70대의 주름진 얼굴선, 자연스러운 동아시아계 이목구비, 회백색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 도로 바닥: \"천천히\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.", "B": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 바닥에 바짝 엎드리듯 고개를 숙인 채 노인의 얼굴 가까이 입을 댄 민수의 측면.\n\nLOCATION (lock): Low over the wet roadway at the center of the outdoor alley intersection, immediately beside the fallen person's face. The surrounding pavement is dimly lit by the flickering streetlamp. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 젖은 사거리 바닥 (젖어 있으며 가로등 불빛이 번져 있음) — The ground reflects broken streetlamp light beneath and behind the two profiles; used as Forms the immediate ground-level background and emphasizes Minsu's lowered 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Flickering streetlamp light and the localized flashlight illumination retain restrained low-key contrast on the two close profiles and the wet ground.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The clothing, hair and overall look of 노인 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the wet intersection surface, dim evening illumination, and the elderly man’s unchanged prone position and gray coat from the reference. Add the mechanic crouched extremely close to the man’s face. Exclude the broad intersection vista, the streetlamp fixture, and the fallen cane from this tight side framing.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man is positioned on his side on the wet ground at the center of the intersection, with his eyes closed and his cane on the ground beside him. The text does not specify the exact arrangement of his arms or legs or which side of his body faces downward.\n\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The unresponsive old man remains positioned on his side with his eyes closed, and his cane stays beside him. Yeon-hee retains the lit flashlight and yellow raincoat, while Min-soo remains in his navy work clothes beside the old man.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인 남성 얼굴, 40대 중년의 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락); 노인 (한국인 노년 얼굴, 70대의 주름진 얼굴선, 자연스러운 동아시아계 이목구비, 회백색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 도로 바닥: \"천천히\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, but reframe like a film director choosing a different setup — a different angle, height, distance or foreground layer from the obvious one. For this candidate only, treat the CAMERA & FRAME contract above as a baseline to depart from, not a lock; the references and the shot text fix WHAT is seen, not WHERE the camera stands. Stay true to any explicit framing the SHOT TEXT itself dictates." }, "shot_run_spend_attempt_count": 1, "readings": [ { "label": "A", "direction": "민수의 시선과 얼굴이 노인의 얼굴을 향하며, 입이 매우 가까이 위치함.", "built_space": "젖은 사거리 바닥. 제외가 지시된 배경의 거리와 가로등이 프레임 안에 여전히 보임.", "entities": "민수(작업복 착용, 모자 누락됨), 노인(회색 코트, 비니). 바닥의 '천천히' 텍스트는 형태가 뭉개져 알아볼 수 없음.", "hard_violations": [], "physics": "민수는 양손과 무릎으로 바닥을 짚어 체중을 지탱하고 있으며, 노인은 바닥에 누워 있음." }, { "label": "B", "direction": "민수가 노인을 내려다보고 있으나 입이 가까이 닿아 있지 않음.", "built_space": "젖은 사거리 바닥. 제외가 지시된 배경의 거리와 가로등이 보임.", "entities": "민수(작업복, 모자), 노인(회색 코트, 비니), 제외 지시된 지팡이가 포함됨. 바닥에 '천' 글자가 일부 보임.", "hard_violations": [ "손으로 잡거나 고정되지 않은 손전등이 민수의 가슴 옷자락에서 돌출되어 빛을 발함 (물리적 지지 없음)." ], "physics": "민수는 두 발로 쪼그려 앉아 바닥을 지지함. 노인은 바닥에 누워 있음. 손으로 잡지 않은 손전등이 가슴에 붙어 있음." } ], "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] }, "totals": { "A": 6, "B": 3 }, "selected": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 6, "verdict_ko": "노인의 얼굴에 매우 가까이 다가간 민수의 자세를 정확히 구현했으나, 지시된 클로즈업 프레이밍을 벗어나 배경과 가로등이 포함되었고 모자가 누락됨." }, { "label": "B", "score": 3, "verdict_ko": "손전등이 지지대 없이 가슴에 붙어 있는 물리적 오류가 있으며, 제외 지시된 지팡이가 프레임에 포함되었고 민수의 자세가 묘사와 다름." } ], "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features and lighting mood are LOCKED to this photo; never copy its camera framing. The clothing, hair and overall look of 노인 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/scene/recipe/S2sh3_sel.png", "asset_id": "e73208a7-cd1c-4ca6-bd08-88e381f88592", "role": "prev_still" }, { "label": "CHARACTER REFERENCE — 민수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "d49e9e20-beca-4ad8-8e46-a9a9f7878873", "role": "character_ref" } ], "critique": { "issues": [ { "issue_ko": "이전 샷에서 고정(Lock)된 노인의 자세가 완전히 다르게 묘사됨 (레퍼런스에서는 오른쪽을 밑으로 하고 누워있으나, 렌더링된 이미지는 몸이 뒤집혀 왼쪽 팔이 앞으로 나와 있음).", "fix_en": "Redraw the old man's body so he is lying on his right side to match the canonical pose, maintaining his gray coat, hat, Minsu's pose, the set, the light, and the framing.", "unfixable": false, "needs_regeneration": true, "severity": "critical", "observation_index": 0, "needs_ref_indices": [ 1 ], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "의식이 없는 노인의 왼손이 손가락을 펴고 바닥을 단단히 짚고 있어, 근육의 힘이 들어가지 않아야 한다는 중력 및 무의식 규칙을 위반함.", "fix_en": "Redraw the old man's left hand to be completely limp and relaxed, with fingers curled naturally and exerting no pressure on the ground, maintaining his gray coat, Minsu's pose, the set, the light, and the framing.", "unfixable": false, "needs_regeneration": false, "severity": "critical", "observation_index": 1, "needs_ref_indices": [ 1 ], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "도로 바닥에 지정된 '천천히'라는 텍스트 대신 형태가 뭉개지고 해독할 수 없는 임의의 문양/글자가 그려져 있음.", "fix_en": "Obscure the mangled white text on the wet pavement under Minsu's arm by applying shadows or water reflections so no legible characters remain, maintaining the people present and their positions, their clothing, the set, the light, and the framing.", "unfixable": false, "needs_regeneration": false, "severity": "critical", "observation_index": 2, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "민수가 '바닥에 바짝 엎드리듯 고개를 숙인 채 노인의 얼굴 가까이 입을 댄' 동작을 하지 않고, 팔을 뻗어 상체를 든 상태로 얼굴과 거리를 두고 있음.", "fix_en": "Redraw Minsu's posture so his chest lies flat on the ground with his mouth extremely close to the old man's face, maintaining his navy coveralls, the old man's pose, the set, the light, and the framing.", "unfixable": false, "needs_regeneration": true, "severity": "major", "observation_index": 3, "needs_ref_indices": [ 2 ], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "클로즈업(close-up) 및 '넓은 교차로 배경 배제(Exclude the broad intersection vista)' 지시를 위반하여, 넓은 골목길 배경과 인물들의 전반적인 상반신이 모두 보이는 루즈한 앵글로 촬영됨.", "fix_en": "Crop the frame tightly to a close-up of the two faces and the immediate wet ground beneath them, removing the deep alleyway background, while maintaining the people present, their clothing, the set, and the light.", "unfixable": false, "needs_regeneration": true, "severity": "major", "observation_index": 4, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "제외하라고 한 가로등 기구가 배경에 보인다", "fix_en": "Remove the glowing streetlamp fixtures from the background, replacing them with the dark structures of the alley, while maintaining the people present and their positions, their clothing, the set, the light, and the framing.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 7, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" } ], "observer_observations": [ { "issue_ko": "이전 샷에서 고정(Lock)된 노인의 자세가 완전히 다르게 묘사됨 (레퍼런스에서는 오른쪽을 밑으로 하고 누워있으나, 렌더링된 이미지는 몸이 뒤집혀 왼쪽 팔이 앞으로 나와 있음).", "severity": "critical" }, { "issue_ko": "의식이 없는 노인의 왼손이 손가락을 펴고 바닥을 단단히 짚고 있어, 근육의 힘이 들어가지 않아야 한다는 중력 및 무의식 규칙을 위반함.", "severity": "critical" }, { "issue_ko": "도로 바닥에 지정된 '천천히'라는 텍스트 대신 형태가 뭉개지고 해독할 수 없는 임의의 문양/글자가 그려져 있음.", "severity": "critical" }, { "issue_ko": "민수가 '바닥에 바짝 엎드리듯 고개를 숙인 채 노인의 얼굴 가까이 입을 댄' 동작을 하지 않고, 팔을 뻗어 상체를 든 상태로 얼굴과 거리를 두고 있음.", "severity": "major" }, { "issue_ko": "클로즈업(close-up) 및 '넓은 교차로 배경 배제(Exclude the broad intersection vista)' 지시를 위반하여, 넓은 골목길 배경과 인물들의 전반적인 상반신이 모두 보이는 루즈한 앵글로 촬영됨.", "severity": "major" }, { "issue_ko": "지정된 클로즈업이 아니라 전신과 골목 건물·하늘이 크게 보이는 와이드 샷이다", "severity": "major" }, { "issue_ko": "민수가 바닥에 바짝 엎드리듯 한 자세가 아니라 무릎과 손으로 상체를 든 채 숙인 자세이다", "severity": "major" }, { "issue_ko": "제외하라고 한 가로등 기구가 배경에 보인다", "severity": "major" } ], "observer_models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "observer_counts": { "gemini-pro": 5, "openrouter:x-ai/grok-4.6": 3 } }, "fix_severity_skipped_count": 3, "fix_severity_skipped": [ { "issue_ko": "민수가 '바닥에 바짝 엎드리듯 고개를 숙인 채 노인의 얼굴 가까이 입을 댄' 동작을 하지 않고, 팔을 뻗어 상체를 든 상태로 얼굴과 거리를 두고 있음.", "fix_en": "Redraw Minsu's posture so his chest lies flat on the ground with his mouth extremely close to the old man's face, maintaining his navy coveralls, the old man's pose, the set, the light, and the framing.", "unfixable": false, "needs_regeneration": true, "severity": "major", "observation_index": 3, "needs_ref_indices": [ 2 ], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "클로즈업(close-up) 및 '넓은 교차로 배경 배제(Exclude the broad intersection vista)' 지시를 위반하여, 넓은 골목길 배경과 인물들의 전반적인 상반신이 모두 보이는 루즈한 앵글로 촬영됨.", "fix_en": "Crop the frame tightly to a close-up of the two faces and the immediate wet ground beneath them, removing the deep alleyway background, while maintaining the people present, their clothing, the set, and the light.", "unfixable": false, "needs_regeneration": true, "severity": "major", "observation_index": 4, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "제외하라고 한 가로등 기구가 배경에 보인다", "fix_en": "Remove the glowing streetlamp fixtures from the background, replacing them with the dark structures of the alley, while maintaining the people present and their positions, their clothing, the set, the light, and the framing.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 7, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" } ], "repair_mode": "edit", "fix_ref_gate": { "mode": "gated", "available": 2, "kept": 1, "requested_indices": [ 1 ], "kept_labels": [ "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features and lighting mood are LOCKED to this photo; never copy its camera framing. The clothing, hair and overall look of 노인 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around." ] }, "fix_ref_count": 2, "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Redraw the old man's body so he is lying on his right side to match the canonical pose, maintaining his gray coat, hat, Minsu's pose, the set, the light, and the framing.\n- Redraw the old man's left hand to be completely limp and relaxed, with fingers curled naturally and exerting no pressure on the ground, maintaining his gray coat, Minsu's pose, the set, the light, and the framing.\n- Obscure the mangled white text on the wet pavement under Minsu's arm by applying shadows or water reflections so no legible characters remain, maintaining the people present and their positions, their clothing, the set, the light, and the framing.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. Real-world writing that belongs\nto the scene — signs, banners, documents — stays exactly as the\noriginal shows it; do not add captions, subtitles, watermarks or\nany overlay text.", "fix_rejudge": { "forward_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 7, "verdict_ko": "요청된 도로 바닥의 텍스트 마킹(천천히)을 적절히 포함하고 있으며, 인물들의 위치와 물리적 자세를 자연스럽게 구현하여 프롬프트에 더 충실함." }, { "label": "B", "score": 3, "verdict_ko": "요구된 도로 바닥의 텍스트가 완전히 누락되었으며, 노인의 손등에 지시하지 않은 글씨가 나타나는 치명적인 텍스트 누출(leaked text)이 발생함." } ], "readings": [ { "label": "A", "direction": "민수는 바닥에 누워 있는 노인의 얼굴을 향해 고개를 숙여 시선을 고정하고 있으며, 노인은 눈을 감고 있다.", "built_space": "어둡고 젖은 야외 골목 교차로 환경이며, 배경으로 건물 형태와 가로등 불빛이 존재한다.", "entities": "남색 작업복을 입은 민수와 회색 코트 및 비니를 착용한 노인의 외형이 참조와 일치하며, 바닥에 흰색 글씨(도로 표시)가 일부 묘사되어 있다.", "hard_violations": [], "physics": "노인은 바닥면에 중력에 따라 완전히 엎드려 있으며, 민수는 무릎과 양손으로 바닥을 짚어 안정적으로 체중을 지탱하고 있다." }, { "label": "B", "direction": "민수는 쓰러진 노인의 얼굴 가까이 고개를 숙이고 있으며, 노인은 눈을 감고 있다.", "built_space": "어둡고 젖은 야외 골목 교차로 바닥이며, 뒤쪽으로 가로등 불빛과 건물 구조가 보인다.", "entities": "두 인물의 복장과 인상착의는 참조와 일치하나, 바닥에 명시된 텍스트가 없고 노인의 손등에 검은색 낙서 혹은 글자가 새겨져 있다.", "hard_violations": [ "노인의 손등에 프롬프트에 없는 정체불명의 텍스트가 누출됨 (leaked text/markers)" ], "physics": "노인은 바닥에 밀착되어 누워 있고, 민수는 양손을 바닥에 대고 엎드린 자세를 자연스럽게 유지하고 있다." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "forward_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 7, "verdict_ko": "요청된 도로 바닥의 텍스트 마킹(천천히)을 적절히 포함하고 있으며, 인물들의 위치와 물리적 자세를 자연스럽게 구현하여 프롬프트에 더 충실함." }, { "label": "B", "score": 3, "verdict_ko": "요구된 도로 바닥의 텍스트가 완전히 누락되었으며, 노인의 손등에 지시하지 않은 글씨가 나타나는 치명적인 텍스트 누출(leaked text)이 발생함." } ], "all_candidates_fail": false, "readings": [ { "label": "A", "direction": "민수는 바닥에 누워 있는 노인의 얼굴을 향해 고개를 숙여 시선을 고정하고 있으며, 노인은 눈을 감고 있다.", "built_space": "어둡고 젖은 야외 골목 교차로 환경이며, 배경으로 건물 형태와 가로등 불빛이 존재한다.", "entities": "남색 작업복을 입은 민수와 회색 코트 및 비니를 착용한 노인의 외형이 참조와 일치하며, 바닥에 흰색 글씨(도로 표시)가 일부 묘사되어 있다.", "hard_violations": [], "physics": "노인은 바닥면에 중력에 따라 완전히 엎드려 있으며, 민수는 무릎과 양손으로 바닥을 짚어 안정적으로 체중을 지탱하고 있다." }, { "label": "B", "direction": "민수는 쓰러진 노인의 얼굴 가까이 고개를 숙이고 있으며, 노인은 눈을 감고 있다.", "built_space": "어둡고 젖은 야외 골목 교차로 바닥이며, 뒤쪽으로 가로등 불빛과 건물 구조가 보인다.", "entities": "두 인물의 복장과 인상착의는 참조와 일치하나, 바닥에 명시된 텍스트가 없고 노인의 손등에 검은색 낙서 혹은 글자가 새겨져 있다.", "hard_violations": [ "노인의 손등에 프롬프트에 없는 정체불명의 텍스트가 누출됨 (leaked text/markers)" ], "physics": "노인은 바닥에 밀착되어 누워 있고, 민수는 양손을 바닥에 대고 엎드린 자세를 자연스럽게 유지하고 있다." } ] }, "reverse_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 7, "verdict_ko": "요구된 바닥 문구('천천히')를 잘 반영하였으며 인물의 엎드린 자세와 프레이밍 지시를 정확히 따름." }, { "label": "A", "score": 5, "verdict_ko": "프레이밍과 인물 자세는 양호하나 바닥 문구가 완전히 누락되었고 노인의 손등에 부자연스러운 낙서 얼룩이 있음." } ], "readings": [ { "label": "A", "direction": "민수의 고개와 입이 노인의 얼굴을 향해 바짝 다가가 있음.", "built_space": "젖은 야외 사거리 도로 바닥이 배경을 채움.", "entities": "민수와 노인의 신원 및 의상은 참조와 일치하나 지시된 바닥 문구가 없음.", "hard_violations": [], "physics": "두 인물 모두 지면에 닿아 중력에 맞게 몸이 지지됨." }, { "label": "B", "direction": "민수의 고개와 입이 노인의 얼굴을 향해 바짝 다가가 있음.", "built_space": "젖은 야외 사거리 도로 바닥과 조명 반사가 보임.", "entities": "인물들의 신원과 의상이 일치하며 바닥에 흰색 '천천히' 문구의 형태가 구현됨.", "hard_violations": [], "physics": "두 인물 모두 지면에 단단히 닿아 중력에 맞게 지지됨." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "reverse_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 7, "verdict_ko": "요구된 바닥 문구('천천히')를 잘 반영하였으며 인물의 엎드린 자세와 프레이밍 지시를 정확히 따름." }, { "label": "B", "score": 5, "verdict_ko": "프레이밍과 인물 자세는 양호하나 바닥 문구가 완전히 누락되었고 노인의 손등에 부자연스러운 낙서 얼룩이 있음." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "민수의 고개와 입이 노인의 얼굴을 향해 바짝 다가가 있음.", "built_space": "젖은 야외 사거리 도로 바닥이 배경을 채움.", "entities": "민수와 노인의 신원 및 의상은 참조와 일치하나 지시된 바닥 문구가 없음.", "hard_violations": [], "physics": "두 인물 모두 지면에 닿아 중력에 맞게 몸이 지지됨." }, { "label": "A", "direction": "민수의 고개와 입이 노인의 얼굴을 향해 바짝 다가가 있음.", "built_space": "젖은 야외 사거리 도로 바닥과 조명 반사가 보임.", "entities": "인물들의 신원과 의상이 일치하며 바닥에 흰색 '천천히' 문구의 형태가 구현됨.", "hard_violations": [], "physics": "두 인물 모두 지면에 단단히 닿아 중력에 맞게 지지됨." } ] }, "combined": { "totals": { "A": 14, "B": 8 }, "ranking": [ "A", "B" ], "agreement": true, "policy": 1 }, "winner": "A", "fix_won": false, "all_candidates_fail": false, "policy": "fix_rejudge_v2_orig_on_tie" }, "shot_run_produced": false, "shot_run_uid": "06a8eccd-69a8-7c8a-8e85-c1c647cca143", "ref_mode": "prev+엔티티", "share_plan": { "ref_plan": "prev", "prev_anchor_tag": "S2sh3" }, "locked_char_refs_excluded": [ "노인(C03)" ] }, "S2sh6::cine": { "applied": true, "attempted_at": "2026-08-26T11:24:06.613239+00:00", "fingerprint": "b47ee85cd01d1774ea761d2be69a16af4bde86f27a13bdbc4b747771b2aeaa36", "fingerprint_version": 2, "provider": "reve", "endpoint": "reve/2.1/edit", "model": "reve/2.1/edit", "pack": "24.202608252115", "source_file": "S2sh6_sel.png", "source_sha256": "26ebc69897280969451a9617452df6eccae2ded96fb96e087c1a3fb730213bbc", "file": "S2sh6_cine.png", "staged_sha256": "41ae60167032d2e83ef854a1e027575446ea12336fdd317a7826f3cb15e7a2db", "latency_ms": 76033, "request_id": "01a03dd0-2ff7-76a0-b5d2-4e0ed3c3e55f", "status_url": "https://queue.fal.run/reve/2.1/requests/01a03dd0-2ff7-76a0-b5d2-4e0ed3c3e55f/status", "response_url": "https://queue.fal.run/reve/2.1/requests/01a03dd0-2ff7-76a0-b5d2-4e0ed3c3e55f", "submitted_at": "2026-08-26T11:24:09.226332+00:00", "verify": { "ok": true, "broken": [], "split": [], "findings": { "anatomy": { "sound": true, "note": "", "agreed": true }, "object_integrity": { "sound": true, "note": "", "agreed": true }, "support": { "sound": true, "note": "", "agreed": true }, "duplication": { "sound": true, "note": "", "agreed": true } }, "rounds": 2, "requested": 2, "complete": true, "judged_size": [ 1376, 768 ], "contract": "97c32fc3dd5c7541", "error": null } }, "S3sh1::confined_fp_apt": { "applies": false, "reason_ko": "해당 샷은 자전거 수리점이라는 일반적인 실내 공간을 배경으로 하고 있으며, 차량 조종석이나 통제실과 같이 복잡하고 엄격한 좌석 배치나 조작 장치 위치가 중요한 공간이 아닙니다. 방향성을 띠는 객체의 정확한 지향점 또한 요구되지 않으므로 평면도 레이아웃 가이드가 필요하지 않습니다.", "input_fingerprint": "a22d958818abb48d" }, "S3sh1::signage": { "fp": "b2c0791edf7902bd", "inscriptions": [ { "surface_native": "벽면 안내판", "text_native": "자전거 수리", "reason_ko": "자전거 수리점 내부라는 공간적 배경을 명확하게 드러내기 위해 벽면에 안내 문구가 필요합니다." } ] }, "era_assess::febb01af104562c6": { "subjects": [ { "subject_native": "한국의 동네 자전거 수리점 내부", "search_terms_native": [ "자전거 수리점 내부", "동네 자전거포", "자전거 정비소 내부" ], "language_lock_native": "검색어는 오직 한국어로만 검색해야 하며, 다른 언어로 번역하거나 추가하지 마십시오.", "reason_ko": "한국의 전형적인 동네 자전거 수리점은 서구식 매장과 달리 특유의 협소함, 무질서하게 쌓인 부품 상자, 수리 도구 배치 등의 시각적 특징이 있어 일반적인 생성 모델은 서양식 자전거 숍으로 잘못 그리기 쉽습니다." } ], "subject_text": "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." }, "era_ref::f7c73a90aff5f81d": { "subject": "한국의 동네 자전거 수리점 내부", "terms": [ "자전거 수리점 내부", "동네 자전거포", "자전거 정비소 내부" ], "queries": [ [ "한국 동네 자전거 수리점 내부 자전거 정비소 내부", "동네 자전거포 내부 자전거 정비 작업장" ] ], "candidates": 4, "picked_index": 3, "picked_url": "https://img.kr.gcp-karroter.net/business-profile/bizPlatform/profile/3071688/1749035784435/VkQ5OHlYTnB6VDhwUU54ZFNEbUV1.jpeg?q=95&s=1440x1440&t=inside", "picked_reason_ko": "현대적인 동네 자전거 수리점의 내부 공간 구조(바닥, 천장 조명, 유리창, 공구 배치 구역 등)가 가장 방해물 없이 명확하게 드러나 있어 훌륭한 건축적 레퍼런스가 됩니다.", "verdicts": [ { "index": 1, "usable": true, "score": 75, "reason_ko": "전형적인 동네 매장의 내부를 잘 보여주나, 빼곡한 자전거들로 인해 공간의 전체적인 구조는 다소 가려져 있습니다." }, { "index": 2, "usable": true, "score": 60, "reason_ko": "수리 작업과 바닥 쪽에 초점이 맞춰져 있어 내부 공간의 형태와 비례를 파악하기에는 화각이 아쉽습니다." }, { "index": 3, "usable": true, "score": 85, "reason_ko": "수리점 내부의 공간감, 벽면, 천장, 출입구 및 작업 구역의 배치가 구조적으로 매우 명확하게 잘 보입니다." }, { "index": 4, "usable": true, "score": 50, "reason_ko": "인물과 공구 벽면에 지나치게 밀착된 구도여서 실내 전체의 구조나 형태를 참고하기에는 부족합니다." } ], "candidate_urls": [ "https://img.kr.gcp-karroter.net/community/community/20241208/160a9e9f-ef1a-4e2c-896c-e1491e990bb1.jpeg", "https://mimg.segye.com/content/image/2026/03/23/ori/20260323518735.jpg", "https://img.kr.gcp-karroter.net/business-profile/bizPlatform/profile/3071688/1749035784435/VkQ5OHlYTnB6VDhwUU54ZFNEbUV1.jpeg?q=95&s=1440x1440&t=inside", "https://img1.daumcdn.net/thumb/R1280x0.fjpg/?fname=https%3A%2F%2Ft1.daumcdn.net%2Fbrunch%2Fservice%2Fuser%2FeI9v%2Fimage%2FTO4K0PdRJJFIfca3Zo4HVZLMstE.jpg" ], "sha256": "10d3bc4fb35bf5d8e8a1d1110704ceb9dde52dd5eec278780ba08314732fe90a", "file": "eraref_f7c73a90aff5f81d.png" }, "S3sh1::bgfirst_bg": { "input_fingerprint": "c351f30fe017a72b", "prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nSHOT TEXT this background must serve (Korean): 한쪽으로 밀려난 작업대 옆, 형광등 불빛 아래 담요를 덮고 누운 노인과 그 곁에 쪼그려 앉은 민수의 전경.\n\nLOCATION (lock): 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\nTIME OF DAY (lock): night.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The fluorescent light gives the night interior a restrained, slightly desaturated illumination with moderate low-key contrast and a tense but compassionate stillness.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. Signage and other writing that permanently belongs to this place may appear, in the place's native language and period style; no captions, watermarks or overlay text.\n\nPERIOD REFERENCE — 한국의 동네 자전거 수리점 내부: a researched photograph of the real\nthing. Copy its era-accurate form, proportions, materials, fittings\nand styling exactly. It decides ONLY what this thing looks like —\nnever the composition, framing, lighting, people or their placement.", "effective_prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nSHOT TEXT this background must serve (Korean): 한쪽으로 밀려난 작업대 옆, 형광등 불빛 아래 담요를 덮고 누운 노인과 그 곁에 쪼그려 앉은 민수의 전경.\n\nLOCATION (lock): 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\nTIME OF DAY (lock): night.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The fluorescent light gives the night interior a restrained, slightly desaturated illumination with moderate low-key contrast and a tense but compassionate stillness.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. Signage and other writing that permanently belongs to this place may appear, in the place's native language and period style; no captions, watermarks or overlay text.\n\nPERIOD REFERENCE — 한국의 동네 자전거 수리점 내부: a researched photograph of the real\nthing. Copy its era-accurate form, proportions, materials, fittings\nand styling exactly. It decides ONLY what this thing looks like —\nnever the composition, framing, lighting, people or their placement.", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/scene/recipe/S3sh1__bgfirst_bg.png", "asset_id": "83049f45-5f05-4384-ac9f-6865fd8c7f6a", "input_asset_ids": [ "34486c34-5755-45bf-af36-c4d2f2d7e6dc", "45f24d7c-6855-45ac-8c3c-51d3c9c5338b" ], "era_research": { "subject": "한국의 동네 자전거 수리점 내부", "queries": [ [ "한국 동네 자전거 수리점 내부 자전거 정비소 내부", "동네 자전거포 내부 자전거 정비 작업장" ] ], "picked_url": "https://img.kr.gcp-karroter.net/business-profile/bizPlatform/profile/3071688/1749035784435/VkQ5OHlYTnB6VDhwUU54ZFNEbUV1.jpeg?q=95&s=1440x1440&t=inside", "sha256": "10d3bc4fb35bf5d8e8a1d1110704ceb9dde52dd5eec278780ba08314732fe90a", "file": "eraref_f7c73a90aff5f81d.png" } }, "S3sh1": { "input_fingerprint": "ee26f865f2b2678c", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 한쪽으로 밀려난 작업대 옆, 형광등 불빛 아래 담요를 덮고 누운 노인과 그 곁에 쪼그려 앉은 민수의 전경.\n\nLOCATION (lock): 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. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The fluorescent light gives the night interior a restrained, slightly desaturated illumination with moderate low-key contrast and a tense but compassionate stillness.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\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\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인 남성 얼굴, 40대 중년의 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락); 노인 (한국인 노년 얼굴, 70대의 주름진 얼굴선, 자연스러운 동아시아계 이목구비, 회백색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 벽면 안내판: \"자전거 수리\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.", "roll_prompts": { "A": "Stage the shot inside a tight, built interior. The FIRST attached image (SHOT BACKGROUND) is the finished empty interior of this shot, and in a space this cramped its geometry is the truth of the shot — keep it EXACTLY: its camera, perspective, every panel, control, seat, mirror, window and fixture stay untouched, in the same place, at the same angle, in the same number.\n\nBefore you place anyone, count what the background shows: how many steering wheels or control surfaces, how many seats and which way each faces, where each mirror sits and what it could reflect from this camera. Those counts and placements are what you must still be able to make after the people are in. Adding a second rim, sliding a seat, turning a mirror or growing a new panel is a failure even when the person looks right.\n\nThe SECOND attached image (LAYOUT SKETCH) tells you where the people go: each sketched person's position, screen size, pose and the gaze/motion arrows. Its background lines are not decoration — they are the same structure seen in line form, so use them to place each person correctly with respect to it: which seat the body occupies, which side of the wheel the hands are on, what the body passes in front of and what it passes behind. Where sketch and background disagree about the structure itself, the background wins.\n\nThe CHARACTER REFERENCE photographs show the real people.\n\nPlace the real people into the background at exactly the sketched positions, sizes and poses, following the arrow directions. A person may cover part of the structure — that is expected, and covering is not redrawing. What the body hides stays hidden; what remains visible stays exactly as the background had it. No sketch lines or arrows may remain.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 한쪽으로 밀려난 작업대 옆, 형광등 불빛 아래 담요를 덮고 누운 노인과 그 곁에 쪼그려 앉은 민수의 전경.\n\nLOCATION (lock): 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. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The fluorescent light gives the night interior a restrained, slightly desaturated illumination with moderate low-key contrast and a tense but compassionate stillness.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\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\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인 남성 얼굴, 40대 중년의 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락); 노인 (한국인 노년 얼굴, 70대의 주름진 얼굴선, 자연스러운 동아시아계 이목구비, 회백색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 벽면 안내판: \"자전거 수리\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.", "B": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 한쪽으로 밀려난 작업대 옆, 형광등 불빛 아래 담요를 덮고 누운 노인과 그 곁에 쪼그려 앉은 민수의 전경.\n\nLOCATION (lock): 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. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The fluorescent light gives the night interior a restrained, slightly desaturated illumination with moderate low-key contrast and a tense but compassionate stillness.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\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\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인 남성 얼굴, 40대 중년의 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락); 노인 (한국인 노년 얼굴, 70대의 주름진 얼굴선, 자연스러운 동아시아계 이목구비, 회백색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 벽면 안내판: \"자전거 수리\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, but reframe like a film director choosing a different setup — a different angle, height, distance or foreground layer from the obvious one. For this candidate only, treat the CAMERA & FRAME contract above as a baseline to depart from, not a lock; the references and the shot text fix WHAT is seen, not WHERE the camera stands. Stay true to any explicit framing the SHOT TEXT itself dictates." }, "roll_refs": { "A": [ { "label": "SHOT BACKGROUND", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/scene/recipe/S3sh1__bgfirst_bg.png", "asset_id": "83049f45-5f05-4384-ac9f-6865fd8c7f6a", "role": "bgfirst_bg" }, { "label": "LAYOUT SKETCH (people placement AND the structure they sit inside — the sketched panels, seats, controls and openings are the same ones the background photograph shows, drawn as lines; read them to place each body correctly against that structure, and where the two disagree about the structure itself the background photograph wins)", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/conti/conti_S3sh1.png", "asset_id": "34486c34-5755-45bf-af36-c4d2f2d7e6dc", "role": "conti_light" }, { "label": "CHARACTER REFERENCE — 민수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "d49e9e20-beca-4ad8-8e46-a9a9f7878873", "role": "character_ref" }, { "label": "CHARACTER REFERENCE — 노인: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "b270444d-3225-4ef4-a8d9-ff15be16dda3", "role": "character_ref" } ], "B": [ { "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/episodes/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/images/background_chain/L01B02.png", "asset_id": "45f24d7c-6855-45ac-8c3c-51d3c9c5338b", "role": "location_plate" }, { "label": "CHARACTER REFERENCE — 민수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "d49e9e20-beca-4ad8-8e46-a9a9f7878873", "role": "character_ref" }, { "label": "CHARACTER REFERENCE — 노인: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "b270444d-3225-4ef4-a8d9-ff15be16dda3", "role": "character_ref" } ] }, "shot_run_spend_attempt_count": 1, "judge_flip": { "forward_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 8, "verdict_ko": "지정된 장소의 공간 구조를 충실히 반영하였으며, 지시된 프레이밍(좌측 하단 민수, 우측 중경 노인, 좌측 배경 작업대)과 간판 텍스트를 정확하게 구현했습니다." }, { "label": "B", "score": 4, "verdict_ko": "참조 이미지의 공간 구조를 왜곡하여 우측에 새로운 작업대와 출입구를 임의로 추가했으며, 좌측 작업대가 비현실적으로 부서진 형태로 묘사되었습니다." } ], "readings": [ { "label": "A", "direction": "민수의 시선은 바닥에 누워있는 노인을 향하고 있습니다.", "built_space": "참조 사진의 자전거 수리점 구조(좌측 출입구 및 작업대, 우측 선반)를 정확히 유지하고 있으며, 좌측 기둥에 '자전거 수리'라는 안내판이 올바르게 위치해 있습니다.", "entities": "민수(40대 남성 얼굴, 파란색 작업복)와 노인(비니 착용, 주름진 얼굴) 모두 참조 이미지와 일치하며, 지시대로 노인은 담요를 덮고 있습니다.", "hard_violations": [], "physics": "민수는 두 발로 바닥을 안정적으로 딛고 쪼그려 앉아 있으며, 노인의 몸은 중력에 맞게 바닥에 완전히 밀착되어 지지받고 있습니다." }, { "label": "B", "direction": "민수의 시선은 누워있는 노인을 향하고 있습니다.", "built_space": "공간의 구조가 원본과 크게 다릅니다. 좌측 작업대는 기형적으로 부서진 채 기울어져 있고, 우측에 지정되지 않은 거대한 작업대가 있으며 출입구가 우측 후경으로 이동했습니다.", "entities": "민수(모자 착용, 파란 작업복)와 노인(담요를 덮고 누움)의 모습이 나타납니다.", "hard_violations": [], "physics": "인물들은 바닥에 잘 지지되어 있으나, 좌측의 심하게 기울어진 목재 구조물이 물리적으로 불안정해 보입니다." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "forward_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 8, "verdict_ko": "지정된 장소의 공간 구조를 충실히 반영하였으며, 지시된 프레이밍(좌측 하단 민수, 우측 중경 노인, 좌측 배경 작업대)과 간판 텍스트를 정확하게 구현했습니다." }, { "label": "B", "score": 4, "verdict_ko": "참조 이미지의 공간 구조를 왜곡하여 우측에 새로운 작업대와 출입구를 임의로 추가했으며, 좌측 작업대가 비현실적으로 부서진 형태로 묘사되었습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "A", "direction": "민수의 시선은 바닥에 누워있는 노인을 향하고 있습니다.", "built_space": "참조 사진의 자전거 수리점 구조(좌측 출입구 및 작업대, 우측 선반)를 정확히 유지하고 있으며, 좌측 기둥에 '자전거 수리'라는 안내판이 올바르게 위치해 있습니다.", "entities": "민수(40대 남성 얼굴, 파란색 작업복)와 노인(비니 착용, 주름진 얼굴) 모두 참조 이미지와 일치하며, 지시대로 노인은 담요를 덮고 있습니다.", "hard_violations": [], "physics": "민수는 두 발로 바닥을 안정적으로 딛고 쪼그려 앉아 있으며, 노인의 몸은 중력에 맞게 바닥에 완전히 밀착되어 지지받고 있습니다." }, { "label": "B", "direction": "민수의 시선은 누워있는 노인을 향하고 있습니다.", "built_space": "공간의 구조가 원본과 크게 다릅니다. 좌측 작업대는 기형적으로 부서진 채 기울어져 있고, 우측에 지정되지 않은 거대한 작업대가 있으며 출입구가 우측 후경으로 이동했습니다.", "entities": "민수(모자 착용, 파란 작업복)와 노인(담요를 덮고 누움)의 모습이 나타납니다.", "hard_violations": [], "physics": "인물들은 바닥에 잘 지지되어 있으나, 좌측의 심하게 기울어진 목재 구조물이 물리적으로 불안정해 보입니다." } ] }, "reverse_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 7, "verdict_ko": "주어진 장소 레퍼런스를 훌륭하게 재현했으며, 인물들의 구도, 민수의 시선 방향, 벽면의 간판 텍스트까지 프롬프트의 요구사항을 충실히 반영했습니다." }, { "label": "A", "score": 3, "verdict_ko": "지정된 로케이션 레퍼런스를 무시하고 전혀 다른 형태의 공간을 생성했으며, 민수의 시선이 노인을 향하지 않는 점이 아쉽습니다." } ], "readings": [ { "label": "B", "direction": "민수의 시선이 바닥에 누워 있는 노인을 정확히 향하고 있습니다.", "built_space": "장소 레퍼런스 이미지와 동일한 좁은 자전거 수리점 내부 구조(왼쪽의 작업대, 벽에 걸린 공구들, 뒤쪽의 자전거 거치대 등)가 정확하게 묘사되었습니다.", "entities": "민수는 파란 작업복을 입고 쪼그려 앉아 있으며(모자 미착용, 짙은 머리카락 노출), 노인은 레퍼런스와 동일한 비니를 쓰고 담요를 덮고 있습니다. 왼쪽 기둥 벽면에 '자전거 수리' 텍스트가 정확히 표기되었습니다.", "hard_violations": [], "physics": "민수는 바닥에 두 발을 딛고 안정적으로 쪼그려 앉아 있으며, 노인은 바닥에 완전히 밀착되어 누워 있습니다." }, { "label": "A", "direction": "민수의 시선이 노인이 있는 바닥 쪽이 아닌 앞쪽 허공을 향하고 있습니다.", "built_space": "제공된 로케이션 레퍼런스와 일치하지 않는 완전히 다른 공간 구조입니다. 왼쪽에는 비스듬한 나무 구조물이 있고 오른쪽에 외부로 통하는 문이 있습니다.", "entities": "민수는 모자와 작업복을 착용했습니다. 노인은 얼굴이 보이나 비니를 착용하지 않았습니다. '자전거 수리' 간판은 벽면이 아닌 우측 바깥 유리창에 있습니다.", "hard_violations": [ "LOCATION (lock) 위반: 제공된 장소 사진의 구조와 특징을 전혀 반영하지 않은 임의의 공간을 렌더링함." ], "physics": "민수는 바닥에 쪼그려 앉아 있고, 노인은 바닥에 누워 중력에 맞게 지지되어 있습니다." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "reverse_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 7, "verdict_ko": "주어진 장소 레퍼런스를 훌륭하게 재현했으며, 인물들의 구도, 민수의 시선 방향, 벽면의 간판 텍스트까지 프롬프트의 요구사항을 충실히 반영했습니다." }, { "label": "B", "score": 3, "verdict_ko": "지정된 로케이션 레퍼런스를 무시하고 전혀 다른 형태의 공간을 생성했으며, 민수의 시선이 노인을 향하지 않는 점이 아쉽습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "A", "direction": "민수의 시선이 바닥에 누워 있는 노인을 정확히 향하고 있습니다.", "built_space": "장소 레퍼런스 이미지와 동일한 좁은 자전거 수리점 내부 구조(왼쪽의 작업대, 벽에 걸린 공구들, 뒤쪽의 자전거 거치대 등)가 정확하게 묘사되었습니다.", "entities": "민수는 파란 작업복을 입고 쪼그려 앉아 있으며(모자 미착용, 짙은 머리카락 노출), 노인은 레퍼런스와 동일한 비니를 쓰고 담요를 덮고 있습니다. 왼쪽 기둥 벽면에 '자전거 수리' 텍스트가 정확히 표기되었습니다.", "hard_violations": [], "physics": "민수는 바닥에 두 발을 딛고 안정적으로 쪼그려 앉아 있으며, 노인은 바닥에 완전히 밀착되어 누워 있습니다." }, { "label": "B", "direction": "민수의 시선이 노인이 있는 바닥 쪽이 아닌 앞쪽 허공을 향하고 있습니다.", "built_space": "제공된 로케이션 레퍼런스와 일치하지 않는 완전히 다른 공간 구조입니다. 왼쪽에는 비스듬한 나무 구조물이 있고 오른쪽에 외부로 통하는 문이 있습니다.", "entities": "민수는 모자와 작업복을 착용했습니다. 노인은 얼굴이 보이나 비니를 착용하지 않았습니다. '자전거 수리' 간판은 벽면이 아닌 우측 바깥 유리창에 있습니다.", "hard_violations": [ "LOCATION (lock) 위반: 제공된 장소 사진의 구조와 특징을 전혀 반영하지 않은 임의의 공간을 렌더링함." ], "physics": "민수는 바닥에 쪼그려 앉아 있고, 노인은 바닥에 누워 중력에 맞게 지지되어 있습니다." } ] }, "combined": { "totals": { "A": 15, "B": 7 }, "ranking": [ "A", "B" ], "agreement": true, "policy": 1 } }, "readings": [ { "label": "A", "direction": "민수의 시선은 바닥에 누워있는 노인을 향하고 있습니다.", "built_space": "참조 사진의 자전거 수리점 구조(좌측 출입구 및 작업대, 우측 선반)를 정확히 유지하고 있으며, 좌측 기둥에 '자전거 수리'라는 안내판이 올바르게 위치해 있습니다.", "entities": "민수(40대 남성 얼굴, 파란색 작업복)와 노인(비니 착용, 주름진 얼굴) 모두 참조 이미지와 일치하며, 지시대로 노인은 담요를 덮고 있습니다.", "hard_violations": [], "physics": "민수는 두 발로 바닥을 안정적으로 딛고 쪼그려 앉아 있으며, 노인의 몸은 중력에 맞게 바닥에 완전히 밀착되어 지지받고 있습니다." }, { "label": "B", "direction": "민수의 시선은 누워있는 노인을 향하고 있습니다.", "built_space": "공간의 구조가 원본과 크게 다릅니다. 좌측 작업대는 기형적으로 부서진 채 기울어져 있고, 우측에 지정되지 않은 거대한 작업대가 있으며 출입구가 우측 후경으로 이동했습니다.", "entities": "민수(모자 착용, 파란 작업복)와 노인(담요를 덮고 누움)의 모습이 나타납니다.", "hard_violations": [], "physics": "인물들은 바닥에 잘 지지되어 있으나, 좌측의 심하게 기울어진 목재 구조물이 물리적으로 불안정해 보입니다." } ], "totals": { "A": 15, "B": 7 }, "selected": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 8, "verdict_ko": "지정된 장소의 공간 구조를 충실히 반영하였으며, 지시된 프레이밍(좌측 하단 민수, 우측 중경 노인, 좌측 배경 작업대)과 간판 텍스트를 정확하게 구현했습니다." }, { "label": "B", "score": 4, "verdict_ko": "참조 이미지의 공간 구조를 왜곡하여 우측에 새로운 작업대와 출입구를 임의로 추가했으며, 좌측 작업대가 비현실적으로 부서진 형태로 묘사되었습니다." } ], "refs": [ { "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/episodes/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/images/background_chain/L01B02.png", "asset_id": "45f24d7c-6855-45ac-8c3c-51d3c9c5338b", "role": "location_plate" }, { "label": "CHARACTER REFERENCE — 민수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "d49e9e20-beca-4ad8-8e46-a9a9f7878873", "role": "character_ref" }, { "label": "CHARACTER REFERENCE — 노인: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "b270444d-3225-4ef4-a8d9-ff15be16dda3", "role": "character_ref" } ], "critique": { "issues": [ { "issue_ko": "민수가 캐릭터 레퍼런스 이미지에 있는 파란색 모자를 쓰고 있지 않습니다.", "fix_en": "Add a blue cap to Min-soo's head matching reference. Preserve his face, clothing, and background.", "severity": "major", "observation_index": 0, "needs_ref_indices": [ 3 ], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "민수의 몸 방향이 레이아웃 스케치와 다릅니다 (스케치에서는 뒷모습이 보여야 하지만, 생성된 사진에서는 측면이 보임).", "fix_en": "Redraw Min-soo viewed from behind as in the sketch. Preserve all other elements.", "severity": "major", "observation_index": 1, "needs_ref_indices": [ 2 ], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "노인의 누운 자세가 레이아웃 스케치와 다릅니다 (스케치에서는 천장을 보고 똑바로 누워 있으나, 생성된 사진에서는 옆으로 누워 있음).", "fix_en": "Redraw the elderly man lying straight back away from camera per sketch. Preserve blanket and scene.", "severity": "major", "observation_index": 2, "needs_ref_indices": [ 2 ], "adds_missing_entity": false, "missing_entity_name": "" } ], "observer_observations": [ { "issue_ko": "민수가 캐릭터 레퍼런스 이미지에 있는 파란색 모자를 쓰고 있지 않습니다.", "severity": "major" }, { "issue_ko": "민수의 몸 방향이 레이아웃 스케치와 다릅니다 (스케치에서는 뒷모습이 보여야 하지만, 생성된 사진에서는 측면이 보임).", "severity": "major" }, { "issue_ko": "노인의 누운 자세가 레이아웃 스케치와 다릅니다 (스케치에서는 천장을 보고 똑바로 누워 있으나, 생성된 사진에서는 옆으로 누워 있음).", "severity": "major" }, { "issue_ko": "중경 오른쪽 노인이 스케치와 달리 머리가 화면 오른쪽을 향하고 얼굴이 보이게 누워 있다", "severity": "major" }, { "issue_ko": "왼쪽 아래 전경의 민수가 스케치처럼 뒷모습이 아니라 얼굴이 보이는 각도로 쪼그려 앉아 있다", "severity": "major" }, { "issue_ko": "왼쪽 아래 민수가 캐릭터 참조의 모자를 쓰지 않았다", "severity": "major" } ], "observer_models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "observer_counts": { "gemini-pro": 3, "openrouter:x-ai/grok-4.6": 3 } }, "fix_severity_skipped_count": 3, "fix_severity_skipped": [ { "issue_ko": "민수가 캐릭터 레퍼런스 이미지에 있는 파란색 모자를 쓰고 있지 않습니다.", "fix_en": "Add a blue cap to Min-soo's head matching reference. Preserve his face, clothing, and background.", "severity": "major", "observation_index": 0, "needs_ref_indices": [ 3 ], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "민수의 몸 방향이 레이아웃 스케치와 다릅니다 (스케치에서는 뒷모습이 보여야 하지만, 생성된 사진에서는 측면이 보임).", "fix_en": "Redraw Min-soo viewed from behind as in the sketch. Preserve all other elements.", "severity": "major", "observation_index": 1, "needs_ref_indices": [ 2 ], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "노인의 누운 자세가 레이아웃 스케치와 다릅니다 (스케치에서는 천장을 보고 똑바로 누워 있으나, 생성된 사진에서는 옆으로 누워 있음).", "fix_en": "Redraw the elderly man lying straight back away from camera per sketch. Preserve blanket and scene.", "severity": "major", "observation_index": 2, "needs_ref_indices": [ 2 ], "adds_missing_entity": false, "missing_entity_name": "" } ], "fix_skipped": true, "fix_skip_reason": "no_critical_issue", "shot_run_produced": false, "shot_run_uid": "06a8ecd2-b0d8-71e0-923c-705e541b8f72", "bgfirst": { "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/scene/recipe/S3sh1__bgfirst_bg.png", "bg_asset_id": "83049f45-5f05-4384-ac9f-6865fd8c7f6a", "bg_record_key": "S3sh1::bgfirst_bg", "chain_winner": true, "authority": "plate" }, "ref_mode": "재투영 배경+콘티+엔티티 (2택1: 체인 승)", "share_plan": { "ref_plan": "background" } }, "S3sh1::cine": { "applied": true, "attempted_at": "2026-08-26T10:56:35.868789+00:00", "fingerprint": "e8f4262e79a5b93bd34dad5ef3a2eb41871c8de2cb8702c3211b0775d2c332dd", "fingerprint_version": 2, "provider": "reve", "endpoint": "reve/2.1/edit", "model": "reve/2.1/edit", "pack": "24.202608252115", "source_file": "S3sh1_sel.png", "source_sha256": "741b38eaaa3e3d23fb7c10c96d7620c1438cc5b37c5e6658be069d064f9835bf", "file": "S3sh1_cine.png", "staged_sha256": "b69853b84fd854ae3bfbc0b82089131e1a88564634aa38eda75b3d999c8b7dc0", "latency_ms": 102875, "request_id": "01a03db7-04d4-7f80-be5d-51c56658294e", "status_url": "https://queue.fal.run/reve/2.1/requests/01a03db7-04d4-7f80-be5d-51c56658294e/status", "response_url": "https://queue.fal.run/reve/2.1/requests/01a03db7-04d4-7f80-be5d-51c56658294e", "submitted_at": "2026-08-26T10:56:39.739749+00:00", "verify": { "ok": true, "broken": [], "split": [], "findings": { "anatomy": { "sound": true, "note": "", "agreed": true }, "object_integrity": { "sound": true, "note": "", "agreed": true }, "support": { "sound": true, "note": "", "agreed": true }, "duplication": { "sound": true, "note": "", "agreed": true } }, "rounds": 2, "requested": 2, "complete": true, "judged_size": [ 1376, 768 ], "contract": "97c32fc3dd5c7541", "error": null } }, "S3sh2::confined_fp_apt": { "applies": false, "reason_ko": "이 샷은 자전거 수리점 문가에서 밖을 내다보는 장면으로, 복잡한 조종 장치가 있는 밀폐된 공간(조종석 등)이 아니며 인물과 사물의 엄격한 배치가 필요한 상황이 아니므로 평면도 레이아웃 보조가 필요하지 않습니다.", "input_fingerprint": "494b2ca0ed0d4cc8" }, "S3sh2::signage": { "fp": "8bf0f347032f849f", "inscriptions": [ { "surface_native": "유리문에 붙은 시트지 글자", "text_native": "자전거 수리", "reason_ko": "이 공간이 자전거 수리점임을 사실적으로 보여주기 위해 가게 문 유리에 표시된 안내 문구가 필요합니다." } ] }, "era_assess::ca36156e0877f856": { "subjects": [ { "subject_native": "2020년대 한국의 골목길 자전거 수리점 내부와 문밖 풍경", "search_terms_native": [ "동네 자전거포 내부", "골목길 자전거 수리점", "자전거포 입구" ], "language_lock_native": "검색 시 다른 언어를 혼합하거나 번역하지 말고 오직 한국어 검색어만 사용하십시오.", "reason_ko": "일반적인 AI 모델은 한국 골목길 자전거포 특유의 조밀한 내부 구조, 문틀 형태, 골목길 풍경 대신 현대적인 서구식 자전거 매장을 그리기 쉽습니다." } ], "subject_text": "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." }, "era_ref::1529a17e7b881904": { "subject": "2020년대 한국의 골목길 자전거 수리점 내부와 문밖 풍경", "terms": [ "동네 자전거포 내부", "골목길 자전거 수리점", "자전거포 입구" ], "queries": [ [ "2020년대 한국 동네 자전거포 내부 골목길 자전거 수리점 입구", "한국 골목길 자전거 수리점 문밖 풍경 자전거포 입구" ] ], "candidates": 4, "picked_index": 2, "picked_url": "https://dnvefa72aowie.cloudfront.net/origin/article/201906/8ab96a8af7c62dea9b3b54cb6f49a4bbd5276a487e8c08a2bbc61746d289b8c3.jpg?q=95&s=1440x1440&t=inside", "picked_reason_ko": "내부 집기와 바깥 골목길 풍경이 동시에 명확하게 담겨 있어 요청된 조건에 가장 잘 부합합니다.", "verdicts": [ { "index": 1, "usable": true, "score": 55, "reason_ko": "외부 전경 위주로 촬영되어 수리점 내부 모습을 파악하기 어렵습니다." }, { "index": 2, "usable": true, "score": 85, "reason_ko": "수리점 내부에서 문밖을 바라보는 구도로, 내부 공간과 외부 풍경이 모두 잘 나타납니다." }, { "index": 3, "usable": true, "score": 65, "reason_ko": "전형적인 골목길 수리점의 외관을 보여주나 내부 디테일이 다소 부족합니다." }, { "index": 4, "usable": true, "score": 60, "reason_ko": "외부에서 내부를 들여다보는 시점이라 실내 공간 전체를 이해하기에는 한계가 있습니다." } ], "candidate_urls": [ "https://cdn.welfarehello.com/naver-blog/production/yeojuhangul/2025-05/223857824770/yeojuhangul_223857824770_2.jpg", "https://dnvefa72aowie.cloudfront.net/origin/article/201906/8ab96a8af7c62dea9b3b54cb6f49a4bbd5276a487e8c08a2bbc61746d289b8c3.jpg?q=95&s=1440x1440&t=inside", "https://www.gimhae.go.kr/CmsMultiFile/view.do?idx=23083&multifileId=MF00003452&s=800x800", "https://cloudfront-ap-northeast-1.images.arcpublishing.com/chosunbiz/YEVMSURZI5BYDLP6IXIAGI7QXY.jpg" ], "sha256": "b646ab2870a2a8c0295ff31bf584323f33609e1dd8f368d4010e852e64deeb8a", "file": "eraref_1529a17e7b881904.png" }, "S3sh2::bgfirst_bg": { "input_fingerprint": "90ffe465385a6462", "prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nSHOT TEXT this background must serve (Korean): 문가에 선 연희가 열린 문 밖의 어두운 골목 쪽으로 시선을 고정한 채 서 있는 옆얼굴.\n\nLOCATION (lock): 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\nTIME OF DAY (lock): night.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Fluorescent interior light outlines Yeonhee against the dark alley in a restrained, slightly desaturated low-key composition.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. Signage and other writing that permanently belongs to this place may appear, in the place's native language and period style; no captions, watermarks or overlay text.\n\nPERIOD REFERENCE — 2020년대 한국의 골목길 자전거 수리점 내부와 문밖 풍경: a researched photograph of the real\nthing. Copy its era-accurate form, proportions, materials, fittings\nand styling exactly. It decides ONLY what this thing looks like —\nnever the composition, framing, lighting, people or their placement.", "effective_prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nSHOT TEXT this background must serve (Korean): 문가에 선 연희가 열린 문 밖의 어두운 골목 쪽으로 시선을 고정한 채 서 있는 옆얼굴.\n\nLOCATION (lock): 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\nTIME OF DAY (lock): night.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Fluorescent interior light outlines Yeonhee against the dark alley in a restrained, slightly desaturated low-key composition.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. Signage and other writing that permanently belongs to this place may appear, in the place's native language and period style; no captions, watermarks or overlay text.\n\nPERIOD REFERENCE — 2020년대 한국의 골목길 자전거 수리점 내부와 문밖 풍경: a researched photograph of the real\nthing. Copy its era-accurate form, proportions, materials, fittings\nand styling exactly. It decides ONLY what this thing looks like —\nnever the composition, framing, lighting, people or their placement.", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/scene/recipe/S3sh2__bgfirst_bg.png", "asset_id": "412c73f1-1b72-45dd-8aed-94bc251e0734", "input_asset_ids": [ "780d9007-407c-4d22-b4d3-016800782832", "45f24d7c-6855-45ac-8c3c-51d3c9c5338b" ], "era_research": { "subject": "2020년대 한국의 골목길 자전거 수리점 내부와 문밖 풍경", "queries": [ [ "2020년대 한국 동네 자전거포 내부 골목길 자전거 수리점 입구", "한국 골목길 자전거 수리점 문밖 풍경 자전거포 입구" ] ], "picked_url": "https://dnvefa72aowie.cloudfront.net/origin/article/201906/8ab96a8af7c62dea9b3b54cb6f49a4bbd5276a487e8c08a2bbc61746d289b8c3.jpg?q=95&s=1440x1440&t=inside", "sha256": "b646ab2870a2a8c0295ff31bf584323f33609e1dd8f368d4010e852e64deeb8a", "file": "eraref_1529a17e7b881904.png" } }, "S3sh2": { "input_fingerprint": "fe06da5e7bc9a63a", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 문가에 선 연희가 열린 문 밖의 어두운 골목 쪽으로 시선을 고정한 채 서 있는 옆얼굴.\n\nLOCATION (lock): 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. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Fluorescent interior light outlines Yeonhee against the dark alley in a restrained, slightly desaturated low-key composition.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The people visible in that photo are NOT in this shot: never carry their faces, bodies or clothing onto anyone here. Each person in THIS shot is defined solely by the PEOPLE list, their own CHARACTER REFERENCE images and their wardrobe notes. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인 여성 얼굴, 20대의 젊은 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 유리문에 붙은 시트지 글자: \"자전거 수리\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.", "roll_prompts": { "A": "Stage the shot inside a tight, built interior. The FIRST attached image (SHOT BACKGROUND) is the finished empty interior of this shot, and in a space this cramped its geometry is the truth of the shot — keep it EXACTLY: its camera, perspective, every panel, control, seat, mirror, window and fixture stay untouched, in the same place, at the same angle, in the same number.\n\nBefore you place anyone, count what the background shows: how many steering wheels or control surfaces, how many seats and which way each faces, where each mirror sits and what it could reflect from this camera. Those counts and placements are what you must still be able to make after the people are in. Adding a second rim, sliding a seat, turning a mirror or growing a new panel is a failure even when the person looks right.\n\nThe SECOND attached image (LAYOUT SKETCH) tells you where the people go: each sketched person's position, screen size, pose and the gaze/motion arrows. Its background lines are not decoration — they are the same structure seen in line form, so use them to place each person correctly with respect to it: which seat the body occupies, which side of the wheel the hands are on, what the body passes in front of and what it passes behind. Where sketch and background disagree about the structure itself, the background wins.\n\nThe CHARACTER REFERENCE photographs show the real people.\n\nPlace the real people into the background at exactly the sketched positions, sizes and poses, following the arrow directions. A person may cover part of the structure — that is expected, and covering is not redrawing. What the body hides stays hidden; what remains visible stays exactly as the background had it. No sketch lines or arrows may remain.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 문가에 선 연희가 열린 문 밖의 어두운 골목 쪽으로 시선을 고정한 채 서 있는 옆얼굴.\n\nLOCATION (lock): 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. The shot takes place here — the FIRST attached image (SHOT BACKGROUND) is this exact place, already built: its ground, structures, horizon, materials and lighting are the finished truth of this location and must not be redesigned or replaced. No location photograph is attached — read the place from that image alone, and add no scenery, structure, vehicle or fixture that it does not already show. This lock governs the place only; the figures in the shot follow the staging and pose instructions.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Fluorescent interior light outlines Yeonhee against the dark alley in a restrained, slightly desaturated low-key composition.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인 여성 얼굴, 20대의 젊은 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.", "B": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 문가에 선 연희가 열린 문 밖의 어두운 골목 쪽으로 시선을 고정한 채 서 있는 옆얼굴.\n\nLOCATION (lock): 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. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Fluorescent interior light outlines Yeonhee against the dark alley in a restrained, slightly desaturated low-key composition.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The people visible in that photo are NOT in this shot: never carry their faces, bodies or clothing onto anyone here. Each person in THIS shot is defined solely by the PEOPLE list, their own CHARACTER REFERENCE images and their wardrobe notes. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인 여성 얼굴, 20대의 젊은 얼굴선, 자연스러운 동아시아계 이목구비, 짙은색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 유리문에 붙은 시트지 글자: \"자전거 수리\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, but reframe like a film director choosing a different setup — a different angle, height, distance or foreground layer from the obvious one. For this candidate only, treat the CAMERA & FRAME contract above as a baseline to depart from, not a lock; the references and the shot text fix WHAT is seen, not WHERE the camera stands. Stay true to any explicit framing the SHOT TEXT itself dictates." }, "roll_refs": { "A": [ { "label": "SHOT BACKGROUND", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/scene/recipe/S3sh2__bgfirst_bg.png", "asset_id": "412c73f1-1b72-45dd-8aed-94bc251e0734", "role": "bgfirst_bg" }, { "label": "LAYOUT SKETCH (people placement AND the structure they sit inside — the sketched panels, seats, controls and openings are the same ones the background photograph shows, drawn as lines; read them to place each body correctly against that structure, and where the two disagree about the structure itself the background photograph wins)", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/conti/conti_S3sh2.png", "asset_id": "780d9007-407c-4d22-b4d3-016800782832", "role": "conti_light" }, { "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "6cb0dd0a-53a9-474c-936d-5756571b82b4", "role": "character_ref" } ], "B": [ { "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/episodes/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/images/background_chain/L01B02.png", "asset_id": "45f24d7c-6855-45ac-8c3c-51d3c9c5338b", "role": "location_plate" }, { "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "6cb0dd0a-53a9-474c-936d-5756571b82b4", "role": "character_ref" } ] }, "shot_run_spend_attempt_count": 1, "judge_flip": { "forward_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "A", "score": 3, "verdict_ko": "지정된 카메라 위치(내부에서 외부 조망)를 위반하고 밖에서 안을 촬영했으며, 지문에 없는 추가 인물들이 등장해 탈락입니다." }, { "label": "B", "score": 7, "verdict_ko": "내부에서 골목을 내다보는 정확한 구도, 인물의 화면 배치, 유리문의 지정 텍스트까지 프롬프트의 지시를 매우 충실히 구현했습니다." } ], "readings": [ { "label": "A", "direction": "연희의 시선은 프레임 왼쪽의 골목을 향하고 있으며, 손전등은 바닥을 비추고 있음.", "built_space": "카메라가 정비소 외부 공간에 위치하여 내부를 들여다보는 구도로, 지시된 방향(내부에서 외부 조망)과 완전히 반대됨.", "entities": "노란 우비를 입은 연희가 있으나, 배경에 지문이 허용하지 않은 두 명의 인물(웅크린 남자, 누워있는 노인)이 추가로 등장함.", "hard_violations": [ "지문에 없는 추가 인물(배경의 두 남성) 등장", "명시된 카메라 위치 및 방향 위반 (내부에서 외부 조망을 외부에서 내부 조망으로 변경)" ], "physics": "두 발로 땅을 딛고 서 있으며, 손에 쥔 손전등의 파지법 등 물리적 지지는 자연스러움." }, { "label": "B", "direction": "연희의 시선과 손전등의 빛 모두 프레임 오른쪽의 어두운 골목을 명확히 향하고 있음.", "built_space": "카메라가 정비소 내부에 위치해 열린 문 너머로 외부를 바라보는 구도이며, 유리문의 배치도 정확함.", "entities": "지시된 노란 우비를 입은 연희 한 명만 등장하며, 유리문에 '자전거 수리'라는 지정된 텍스트가 존재함.", "hard_violations": [], "physics": "바닥을 딛고 선 자세와 손전등을 쥔 손, 문을 가볍게 지지하는 듯한 모습이 물리적으로 타당함." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "forward_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "A", "score": 3, "verdict_ko": "지정된 카메라 위치(내부에서 외부 조망)를 위반하고 밖에서 안을 촬영했으며, 지문에 없는 추가 인물들이 등장해 탈락입니다." }, { "label": "B", "score": 7, "verdict_ko": "내부에서 골목을 내다보는 정확한 구도, 인물의 화면 배치, 유리문의 지정 텍스트까지 프롬프트의 지시를 매우 충실히 구현했습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "A", "direction": "연희의 시선은 프레임 왼쪽의 골목을 향하고 있으며, 손전등은 바닥을 비추고 있음.", "built_space": "카메라가 정비소 외부 공간에 위치하여 내부를 들여다보는 구도로, 지시된 방향(내부에서 외부 조망)과 완전히 반대됨.", "entities": "노란 우비를 입은 연희가 있으나, 배경에 지문이 허용하지 않은 두 명의 인물(웅크린 남자, 누워있는 노인)이 추가로 등장함.", "hard_violations": [ "지문에 없는 추가 인물(배경의 두 남성) 등장", "명시된 카메라 위치 및 방향 위반 (내부에서 외부 조망을 외부에서 내부 조망으로 변경)" ], "physics": "두 발로 땅을 딛고 서 있으며, 손에 쥔 손전등의 파지법 등 물리적 지지는 자연스러움." }, { "label": "B", "direction": "연희의 시선과 손전등의 빛 모두 프레임 오른쪽의 어두운 골목을 명확히 향하고 있음.", "built_space": "카메라가 정비소 내부에 위치해 열린 문 너머로 외부를 바라보는 구도이며, 유리문의 배치도 정확함.", "entities": "지시된 노란 우비를 입은 연희 한 명만 등장하며, 유리문에 '자전거 수리'라는 지정된 텍스트가 존재함.", "hard_violations": [], "physics": "바닥을 딛고 선 자세와 손전등을 쥔 손, 문을 가볍게 지지하는 듯한 모습이 물리적으로 타당함." } ] }, "reverse_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 7, "verdict_ko": "지정된 프레이밍(왼쪽 연희, 오른쪽 골목)과 밖을 향하는 카메라 방향을 정확히 구현하였고, 불필요한 인물을 배제하여 지침을 잘 따랐습니다." }, { "label": "B", "score": 3, "verdict_ko": "카메라가 바깥이 아닌 정비소 내부를 향해 프레이밍 지침을 어겼으며, 샷 텍스트에 없는 인물들이 배경에 등장해 심각한 오류가 발생했습니다." } ], "readings": [ { "label": "A", "direction": "연희가 화면 오른쪽의 어두운 골목을 향해 시선을 고정하고 있음.", "built_space": "카메라가 정비소 내부에 위치하며, 화면 왼쪽에는 정비소 내부가, 오른쪽에는 열린 문과 바깥 골목이 배치됨.", "entities": "연희(노란 우비 착용)가 플래시를 들고 있음. 유리문에 '자전거 수리' 문구가 외부에서 보이도록 반전된 채 부착되어 있음.", "hard_violations": [], "physics": "연희가 손으로 플래시를 안정적으로 쥐고 서 있음." }, { "label": "B", "direction": "연희가 화면 왼쪽의 골목을 향해 시선을 두고 있음.", "built_space": "카메라가 정비소 문가에서 오른쪽의 내부 깊숙한 곳을 비추고 있으며, 골목은 화면 왼쪽에 위치함.", "entities": "연희가 플래시를 들고 있음. 배경의 정비소 내부에 노인과 민수로 보이는 인물들이 포함됨.", "hard_violations": [ "지정된 카메라 시점(밖을 향함)을 무시하고 내부를 비춤", "샷 텍스트에 명시되지 않은 인물(노인, 민수)을 프레임에 추가함" ], "physics": "연희가 손으로 플래시를 쥐고 자연스럽게 서 있음." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "reverse_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 7, "verdict_ko": "지정된 프레이밍(왼쪽 연희, 오른쪽 골목)과 밖을 향하는 카메라 방향을 정확히 구현하였고, 불필요한 인물을 배제하여 지침을 잘 따랐습니다." }, { "label": "A", "score": 3, "verdict_ko": "카메라가 바깥이 아닌 정비소 내부를 향해 프레이밍 지침을 어겼으며, 샷 텍스트에 없는 인물들이 배경에 등장해 심각한 오류가 발생했습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "연희가 화면 오른쪽의 어두운 골목을 향해 시선을 고정하고 있음.", "built_space": "카메라가 정비소 내부에 위치하며, 화면 왼쪽에는 정비소 내부가, 오른쪽에는 열린 문과 바깥 골목이 배치됨.", "entities": "연희(노란 우비 착용)가 플래시를 들고 있음. 유리문에 '자전거 수리' 문구가 외부에서 보이도록 반전된 채 부착되어 있음.", "hard_violations": [], "physics": "연희가 손으로 플래시를 안정적으로 쥐고 서 있음." }, { "label": "A", "direction": "연희가 화면 왼쪽의 골목을 향해 시선을 두고 있음.", "built_space": "카메라가 정비소 문가에서 오른쪽의 내부 깊숙한 곳을 비추고 있으며, 골목은 화면 왼쪽에 위치함.", "entities": "연희가 플래시를 들고 있음. 배경의 정비소 내부에 노인과 민수로 보이는 인물들이 포함됨.", "hard_violations": [ "지정된 카메라 시점(밖을 향함)을 무시하고 내부를 비춤", "샷 텍스트에 명시되지 않은 인물(노인, 민수)을 프레임에 추가함" ], "physics": "연희가 손으로 플래시를 쥐고 자연스럽게 서 있음." } ] }, "combined": { "totals": { "A": 6, "B": 14 }, "ranking": [ "B", "A" ], "agreement": true, "policy": 1 } }, "readings": [ { "label": "A", "direction": "연희의 시선은 프레임 왼쪽의 골목을 향하고 있으며, 손전등은 바닥을 비추고 있음.", "built_space": "카메라가 정비소 외부 공간에 위치하여 내부를 들여다보는 구도로, 지시된 방향(내부에서 외부 조망)과 완전히 반대됨.", "entities": "노란 우비를 입은 연희가 있으나, 배경에 지문이 허용하지 않은 두 명의 인물(웅크린 남자, 누워있는 노인)이 추가로 등장함.", "hard_violations": [ "지문에 없는 추가 인물(배경의 두 남성) 등장", "명시된 카메라 위치 및 방향 위반 (내부에서 외부 조망을 외부에서 내부 조망으로 변경)" ], "physics": "두 발로 땅을 딛고 서 있으며, 손에 쥔 손전등의 파지법 등 물리적 지지는 자연스러움." }, { "label": "B", "direction": "연희의 시선과 손전등의 빛 모두 프레임 오른쪽의 어두운 골목을 명확히 향하고 있음.", "built_space": "카메라가 정비소 내부에 위치해 열린 문 너머로 외부를 바라보는 구도이며, 유리문의 배치도 정확함.", "entities": "지시된 노란 우비를 입은 연희 한 명만 등장하며, 유리문에 '자전거 수리'라는 지정된 텍스트가 존재함.", "hard_violations": [], "physics": "바닥을 딛고 선 자세와 손전등을 쥔 손, 문을 가볍게 지지하는 듯한 모습이 물리적으로 타당함." } ], "totals": { "A": 6, "B": 14 }, "selected": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "A", "score": 3, "verdict_ko": "지정된 카메라 위치(내부에서 외부 조망)를 위반하고 밖에서 안을 촬영했으며, 지문에 없는 추가 인물들이 등장해 탈락입니다." }, { "label": "B", "score": 7, "verdict_ko": "내부에서 골목을 내다보는 정확한 구도, 인물의 화면 배치, 유리문의 지정 텍스트까지 프롬프트의 지시를 매우 충실히 구현했습니다." } ], "refs": [ { "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/episodes/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/images/background_chain/L01B02.png", "asset_id": "45f24d7c-6855-45ac-8c3c-51d3c9c5338b", "role": "location_plate" }, { "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "6cb0dd0a-53a9-474c-936d-5756571b82b4", "role": "character_ref" } ], "critique": { "issues": [ { "issue_ko": "손전등을 쥔 손 위쪽 문틀에 팔과 연결되지 않은 여분의 손가락들이 생성되어 있음.", "fix_en": "Erase the extra, disembodied fingers resting on the metal door frame just above the flashlight. Replace them with the bare metal surface of the door frame, matching the surrounding texture. Do not alter the hand holding the flashlight, the flashlight itself, the character's face or yellow raincoat, the text on the glass, or the background alley.", "unfixable": false, "needs_regeneration": false, "severity": "critical", "observation_index": 0, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" } ], "observer_observations": [ { "issue_ko": "손전등을 쥔 손 위쪽 문틀에 팔과 연결되지 않은 여분의 손가락들이 생성되어 있음.", "severity": "critical" } ], "observer_models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "observer_counts": { "gemini-pro": 1, "openrouter:x-ai/grok-4.6": 0 } }, "repair_mode": "edit", "fix_ref_gate": { "mode": "gated", "available": 2, "kept": 0, "requested_indices": [], "kept_labels": [] }, "fix_ref_count": 1, "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Erase the extra, disembodied fingers resting on the metal door frame just above the flashlight. Replace them with the bare metal surface of the door frame, matching the surrounding texture. Do not alter the hand holding the flashlight, the flashlight itself, the character's face or yellow raincoat, the text on the glass, or the background alley.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. Real-world writing that belongs\nto the scene — signs, banners, documents — stays exactly as the\noriginal shows it; do not add captions, subtitles, watermarks or\nany overlay text.", "fix_rejudge": { "forward_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 9, "verdict_ko": "레퍼런스의 인물과 공간을 정확하게 반영하였으며, 물리적 오류 없이 훌륭한 구도와 분위기를 연출했습니다." }, { "label": "B", "score": 4, "verdict_ko": "프롬프트의 전반적인 요소는 잘 구현했으나, 금속 문틀이 투명하게 비치는 치명적인 렌더링 오류가 있습니다." } ], "readings": [ { "label": "A", "direction": "연희의 시선은 프롬프트의 지시대로 우측의 열린 문 밖 어두운 골목을 정확히 향하고 있으며, 쥐고 있는 손전등의 방향 역시 우측을 향하고 있습니다.", "built_space": "자전거 정비소 내부의 작업대와 공구들이 왼쪽에 올바르게 배치되었으며, 화면 중앙을 가로지르는 유리문과 금속 문틀, 손잡이의 공간적 깊이와 구조가 물리적으로 자연스럽습니다.", "entities": "연희의 얼굴 특징과 20대 여성의 외모, 노란색 우비가 레퍼런스와 정확히 일치하며, 유리문의 '자전거 수리' 텍스트(마지막 글자가 미세하게 왜곡됨)와 손전등 소품이 지시대로 존재합니다.", "hard_violations": [], "physics": "연희가 손전등을 쥐고 있는 손의 파지법이 무난하며, 사물 간의 겹침(손잡이 뒤로 넘어가는 손전등)이 입체적이고 물리적으로 타당합니다." }, { "label": "B", "direction": "연희의 시선과 손전등이 우측의 열린 문 밖 어두운 골목 방향을 올바르게 겨냥하고 있습니다.", "built_space": "정비소 내부와 열린 문의 배치는 프롬프트와 일치하나, 우측 금속 문틀(손잡이가 달린 기둥)이 완전히 투명하게 렌더링되어 배경에 있는 골목의 벽돌 패턴이 문틀을 뚫고 그대로 비쳐 보이는 구조적 오류가 있습니다.", "entities": "연희의 인상착의와 노란색 우비, 손전등이 명확하며, 유리문의 '자전거 수리' 텍스트가 매우 선명하고 정확하게 렌더링되었습니다.", "hard_violations": [ "Physically impossible built space: 우측 금속 문틀이 투명하게 렌더링되어 배경의 벽돌 텍스처가 물리적으로 불가능하게 투과되어 보임." ], "physics": "손전등을 쥐는 자세와 무게감은 자연스러우나, 단단한 불투명 금속이어야 할 문틀이 유령처럼 투명하게 처리된 점이 물리법칙에 어긋납니다." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "forward_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 9, "verdict_ko": "레퍼런스의 인물과 공간을 정확하게 반영하였으며, 물리적 오류 없이 훌륭한 구도와 분위기를 연출했습니다." }, { "label": "B", "score": 4, "verdict_ko": "프롬프트의 전반적인 요소는 잘 구현했으나, 금속 문틀이 투명하게 비치는 치명적인 렌더링 오류가 있습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "A", "direction": "연희의 시선은 프롬프트의 지시대로 우측의 열린 문 밖 어두운 골목을 정확히 향하고 있으며, 쥐고 있는 손전등의 방향 역시 우측을 향하고 있습니다.", "built_space": "자전거 정비소 내부의 작업대와 공구들이 왼쪽에 올바르게 배치되었으며, 화면 중앙을 가로지르는 유리문과 금속 문틀, 손잡이의 공간적 깊이와 구조가 물리적으로 자연스럽습니다.", "entities": "연희의 얼굴 특징과 20대 여성의 외모, 노란색 우비가 레퍼런스와 정확히 일치하며, 유리문의 '자전거 수리' 텍스트(마지막 글자가 미세하게 왜곡됨)와 손전등 소품이 지시대로 존재합니다.", "hard_violations": [], "physics": "연희가 손전등을 쥐고 있는 손의 파지법이 무난하며, 사물 간의 겹침(손잡이 뒤로 넘어가는 손전등)이 입체적이고 물리적으로 타당합니다." }, { "label": "B", "direction": "연희의 시선과 손전등이 우측의 열린 문 밖 어두운 골목 방향을 올바르게 겨냥하고 있습니다.", "built_space": "정비소 내부와 열린 문의 배치는 프롬프트와 일치하나, 우측 금속 문틀(손잡이가 달린 기둥)이 완전히 투명하게 렌더링되어 배경에 있는 골목의 벽돌 패턴이 문틀을 뚫고 그대로 비쳐 보이는 구조적 오류가 있습니다.", "entities": "연희의 인상착의와 노란색 우비, 손전등이 명확하며, 유리문의 '자전거 수리' 텍스트가 매우 선명하고 정확하게 렌더링되었습니다.", "hard_violations": [ "Physically impossible built space: 우측 금속 문틀이 투명하게 렌더링되어 배경의 벽돌 텍스처가 물리적으로 불가능하게 투과되어 보임." ], "physics": "손전등을 쥐는 자세와 무게감은 자연스러우나, 단단한 불투명 금속이어야 할 문틀이 유령처럼 투명하게 처리된 점이 물리법칙에 어긋납니다." } ] }, "reverse_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "A", "score": 1150, "verdict_ko": "구도와 분위기, 텍스트는 훌륭하게 구현했으나, 손전등을 쥔 손의 손가락이 6개로 묘사되는 치명적인 해부학적 오류가 발생했습니다. ★위반: [gemini-pro] 손전등을 쥔 손의 손가락이 6개로 묘사된 해부학적 오류 (physically impossible anatomy)" }, { "label": "B", "score": 1714, "verdict_ko": "A 후보의 다지증 오류를 정상적인 손으로 성공적으로 수정하였으며, 지정된 프레이밍, 인물의 정체성, 그리고 어둡고 대비되는 조명 분위기를 완벽하게 충족한 결과물입니다." } ], "all_candidates_fail": false, "dual": { "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "normalized": { "A": 1.4, "B": 1.714 }, "adjusted": { "A": 1.15, "B": 1.714 }, "violations": { "A": [ "[gemini-pro] 손전등을 쥔 손의 손가락이 6개로 묘사된 해부학적 오류 (physically impossible anatomy)" ] }, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "A" }, "agreed": false }, "gq": { "route": "combined", "gap": 0.286, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "reverse_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "B", "score": 1150, "verdict_ko": "구도와 분위기, 텍스트는 훌륭하게 구현했으나, 손전등을 쥔 손의 손가락이 6개로 묘사되는 치명적인 해부학적 오류가 발생했습니다. ★위반: [gemini-pro] 손전등을 쥔 손의 손가락이 6개로 묘사된 해부학적 오류 (physically impossible anatomy)" }, { "label": "A", "score": 1714, "verdict_ko": "A 후보의 다지증 오류를 정상적인 손으로 성공적으로 수정하였으며, 지정된 프레이밍, 인물의 정체성, 그리고 어둡고 대비되는 조명 분위기를 완벽하게 충족한 결과물입니다." } ], "all_candidates_fail": false }, "combined": { "totals": { "A": 1723, "B": 1154 }, "ranking": [ "A", "B" ], "agreement": true, "policy": 1 }, "winner": "A", "fix_won": false, "all_candidates_fail": false, "policy": "fix_rejudge_v2_orig_on_tie" }, "shot_run_produced": false, "shot_run_uid": "06a8ecd2-b1a4-7324-946b-ad27f8fed130", "bgfirst": { "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/f1cf927b-c0e2-4dc9-ae2e-e29b6c5bf913/images/8750a231-f2d4-4855-9a5a-8d7f9a3a0bc9/scene/recipe/S3sh2__bgfirst_bg.png", "bg_asset_id": "412c73f1-1b72-45dd-8aed-94bc251e0734", "bg_record_key": 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