{ "S1sh2::confined_fp_apt": { "applies": false, "reason_ko": "자전거 정비소 내부는 조종실이나 차량 내부처럼 인물이나 제어 장치의 배치가 엄격하게 중요한 공간이 아니며, 단순한 실내 공간이므로 평면도 보조가 필요하지 않습니다.", "input_fingerprint": "6f3aa05e4292f3d3" }, "S1sh2::signage": { "fp": "c6f6f8bd9200fc49", "inscriptions": [ { "surface_native": "유리문", "text_native": "자전거 수리", "reason_ko": "연희가 문을 열고 들어가는 장소가 자전거 정비소임을 직관적으로 보여주기 위해 유리문에 표시가 필요합니다." } ] }, "era_assess::d7510724eae6d9c2": { "subjects": [ { "subject_native": "한국의 오래된 골목길 자전거 수리점 내부", "search_terms_native": [ "골목길 자전거포 내부", "동네 자전거 수리점", "자전거 수리점 내부" ], "language_lock_native": "이 검색어는 한국어로만 검색해야 하며 다른 언어로 번역하거나 추가해서는 안 됩니다.", "reason_ko": "일반적인 이미지 모델은 현대적이고 깔끔한 서구식 바이크숍을 그리기 쉬우나, 한국 골목길의 오래된 자전거포가 가진 특유의 좁고 무질서한 공구 배치와 인테리어를 표현하려면 실제 참조 자료가 필요합니다." } ], "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::5c5fbf1ddc3f8fa5": { "subject": "한국의 오래된 골목길 자전거 수리점 내부", "terms": [ "골목길 자전거포 내부", "동네 자전거 수리점", "자전거 수리점 내부" ], "queries": [ [ "한국의 오래된 골목길 자전거 수리점 내부", "골목길 자전거포 내부 / 동네 자전거 수리점 / 자전거 수리점 내부" ] ], "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 공간적 비율, 채광창, 작업대와 도구들의 실제적인 배치 상태를 가장 종합적이고 명확하게 보여주는 훌륭한 레퍼런스입니다.", "verdicts": [ { "index": 1, "usable": true, "score": 85, "reason_ko": "수리점 내부의 전반적인 구조와 작업 공간, 부품들이 배치된 모습이 매우 사실적이고 명확하게 나타납니다." }, { "index": 2, "usable": true, "score": 55, "reason_ko": "수리점보다는 새 자전거 판매점에 가까워 보이며, 자전거들에 가려져 실내 구조를 파악하기 어렵습니다." }, { "index": 3, "usable": true, "score": 75, "reason_ko": "오래된 실내의 벽면과 바닥 구조는 잘 보이지만, 수리 작업 공간 특유의 디테일은 다소 부족합니다." }, { "index": 4, "usable": true, "score": 65, "reason_ko": "부품과 도구의 배치는 잘 보여주나, 좁게 촬영되어 방 전체의 공간감이나 구조를 읽기에는 다소 답답합니다." } ], "candidate_urls": [ "https://onthegrid.city/imager/s3_amazonaws_com/onthegrid.city/assets/grid/seoul/sangsu/dooboogong/IMG_7925-2_299006722e285f47655d17d1c9136337.jpg", "https://cdn.kyongbuk.co.kr/news/photo/202007/2047714_464094_0524.jpg", "https://mediahub.seoul.go.kr/uploads/mediahub/2022/02/lMgVvsaPHzWXzmwHGhBLGTOHtMpAIjkg.jpg", "https://onthegrid.city/imager/s3_amazonaws_com/onthegrid.city/assets/grid/seoul/sangsu/dooboogong/IMG_8045_299006722e285f47655d17d1c9136337.jpg" ], "sha256": "d005bec27adf680f505d8f04587a05c267bd8f6b734070a615358116a9257dcf", "file": "eraref_5c5fbf1ddc3f8fa5.png" }, "S1sh2::bgfirst_bg": { "input_fingerprint": "917584f4516572fd", "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 오래된 골목길 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): 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 오래된 골목길 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/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 오래된 골목길 자전거 수리점 내부", "queries": [ [ "한국의 오래된 골목길 자전거 수리점 내부", "골목길 자전거포 내부 / 동네 자전거 수리점 / 자전거 수리점 내부" ] ], "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_5c5fbf1ddc3f8fa5.png" } }, "S1sh2": { "input_fingerprint": "53cb6735c515141a", "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- 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- 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- 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": 8, "verdict_ko": "자전거가 거꾸로 세워지지 않은 점과 표지판이 종이에 적혀 있는 점은 아쉬우나, 인물의 외모, 의상, 손전등을 들고 문을 미는 핵심 동작과 구도를 훌륭하게 구현했습니다." }, { "label": "A", "score": 1, "verdict_ko": "프롬프트에 없는 인물이 배경에 등장하고 화면 중간에 화살표 마커가 그대로 유출되어 사용할 수 없는 이미지입니다." } ], "readings": [ { "label": "A", "direction": "연희가 정비소 안쪽을 향해 서 있어서 얼굴이 보이지 않으며, 머리에서 자전거 뒷바퀴 쪽을 향해 흰색 화살표 선이 그어져 있습니다. 손전등은 바닥을 비추고 있습니다.", "built_space": "정비소 내부 입구 쪽에 서 있으며 왼쪽에 유리문이 있습니다. 배경 우측에 프롬프트에 없는 낯선 남자가 서 있습니다.", "entities": "연희(얼굴 안 보임, 노란 우비), 손전등, 유리문에 적힌 '자전거 수리' 텍스트. 자전거는 거꾸로가 아닌 똑바로 세워져 있습니다.", "hard_violations": [ "지시되지 않은 인물 추가 (배경 오른쪽의 남자)", "마커/다이어그램 유출 (머리에서 자전거로 이어지는 흰색 화살표 선)" ], "physics": "왼손을 유리문에 대고 오른손으로 손전등을 쥐고 있으며, 바닥에 안정적으로 서 있어 지지 상태는 정상적입니다." }, { "label": "B", "direction": "연희가 정비소 안쪽을 바라보고 서 있으며, 몸과 시선 모두 오른쪽(내부)을 향합니다. 손전등을 쥔 오른손은 아래를 향하고 있습니다.", "built_space": "정비소 안쪽에서 입구를 보는 구도에 가깝게 왼쪽에 열린 문이 있습니다. 뒤편 작업대와 자전거 스탠드의 배치가 자연스럽습니다.", "entities": "연희(레퍼런스와 일치하는 이목구비, 노란 우비), 손전등, 유리문에 붙은 종이에 적힌 '자전거 수리' 텍스트. 프롬프트와 달리 자전거가 똑바로 세워져 있습니다.", "hard_violations": [], "physics": "왼손이 문틀을 자연스럽게 쥐고 밀고 있으며, 오른손의 손전등 파지법과 신체의 무게 중심 모두 물리적으로 자연스럽습니다." } ], "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": 8, "verdict_ko": "자전거가 거꾸로 세워지지 않은 점과 표지판이 종이에 적혀 있는 점은 아쉬우나, 인물의 외모, 의상, 손전등을 들고 문을 미는 핵심 동작과 구도를 훌륭하게 구현했습니다." }, { "label": "A", "score": 1, "verdict_ko": "프롬프트에 없는 인물이 배경에 등장하고 화면 중간에 화살표 마커가 그대로 유출되어 사용할 수 없는 이미지입니다." } ], "all_candidates_fail": false, "readings": [ { "label": "A", "direction": "연희가 정비소 안쪽을 향해 서 있어서 얼굴이 보이지 않으며, 머리에서 자전거 뒷바퀴 쪽을 향해 흰색 화살표 선이 그어져 있습니다. 손전등은 바닥을 비추고 있습니다.", "built_space": "정비소 내부 입구 쪽에 서 있으며 왼쪽에 유리문이 있습니다. 배경 우측에 프롬프트에 없는 낯선 남자가 서 있습니다.", "entities": "연희(얼굴 안 보임, 노란 우비), 손전등, 유리문에 적힌 '자전거 수리' 텍스트. 자전거는 거꾸로가 아닌 똑바로 세워져 있습니다.", "hard_violations": [ "지시되지 않은 인물 추가 (배경 오른쪽의 남자)", "마커/다이어그램 유출 (머리에서 자전거로 이어지는 흰색 화살표 선)" ], "physics": "왼손을 유리문에 대고 오른손으로 손전등을 쥐고 있으며, 바닥에 안정적으로 서 있어 지지 상태는 정상적입니다." }, { "label": "B", "direction": "연희가 정비소 안쪽을 바라보고 서 있으며, 몸과 시선 모두 오른쪽(내부)을 향합니다. 손전등을 쥔 오른손은 아래를 향하고 있습니다.", "built_space": "정비소 안쪽에서 입구를 보는 구도에 가깝게 왼쪽에 열린 문이 있습니다. 뒤편 작업대와 자전거 스탠드의 배치가 자연스럽습니다.", "entities": "연희(레퍼런스와 일치하는 이목구비, 노란 우비), 손전등, 유리문에 붙은 종이에 적힌 '자전거 수리' 텍스트. 프롬프트와 달리 자전거가 똑바로 세워져 있습니다.", "hard_violations": [], "physics": "왼손이 문틀을 자연스럽게 쥐고 밀고 있으며, 오른손의 손전등 파지법과 신체의 무게 중심 모두 물리적으로 자연스럽습니다." } ] }, "reverse_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 9, "verdict_ko": "지시된 프레이밍, 인물의 외모와 의상, 정비소 내부의 배치 및 조명을 매우 훌륭하게 구현했으며 규정 위반이 없습니다." }, { "label": "B", "score": 0, "verdict_ko": "지시문에 없는 인물이 배경에 등장하고 화면에 화살표 다이어그램이 노출되는 치명적인 위반이 있어 탈락입니다." } ], "readings": [ { "label": "A", "direction": "연희의 시선은 정비소 내부를 향하고 있으며, 손전등은 아래쪽 바닥을 비추고 있습니다.", "built_space": "정비소 내부 구조가 레퍼런스와 일치하며, 좌측에 문, 우측에 작업대와 열린 공구 상자, 안쪽에 거꾸로 세워진 자전거가 올바르게 배치되어 있습니다.", "entities": "레퍼런스와 일치하는 연희가 젖은 노란 우비를 입고 휴대용 손전등을 들고 있습니다. 유리문에 붙은 종이에 '자전거 수리'라는 문구가 적혀 있으며, 지시문에 없는 다른 인물은 없습니다.", "hard_violations": [], "physics": "오른손으로 유리문을 밀고 왼손으로 손전등을 쥔 채 안으로 체중을 실어 내디딘 자세가 물리적으로 자연스럽게 지탱되고 있습니다." }, { "label": "B", "direction": "연희의 머리에서 배경의 자전거를 향해 흰색 화살표 선이 그어져 있으며, 손전등은 바닥을 비추고 있습니다.", "built_space": "정비소 내부의 구조와 작업대, 자전거의 위치는 레퍼런스와 유사하게 배치되어 있습니다.", "entities": "연희가 노란 우비를 입고 손전등을 들고 있으나 뒷모습으로 표현되었습니다. 유리문에 '자전거 수리' 문구가 직접 쓰여 있습니다. 하지만 배경 우측에 지시문에 없는 남성이 등장합니다.", "hard_violations": [ "invented people (지시문에 없는 남성이 배경에 등장함)", "leaked markers/diagrams (연희의 얼굴 근처에서 자전거 쪽으로 뻗은 흰색 화살표 다이어그램이 화면에 노출됨)" ], "physics": "손전등을 쥔 손의 형태와 파지가 다소 어색하지만 허공에 떠 있지는 않습니다." } ], "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": 9, "verdict_ko": "지시된 프레이밍, 인물의 외모와 의상, 정비소 내부의 배치 및 조명을 매우 훌륭하게 구현했으며 규정 위반이 없습니다." }, { "label": "A", "score": 0, "verdict_ko": "지시문에 없는 인물이 배경에 등장하고 화면에 화살표 다이어그램이 노출되는 치명적인 위반이 있어 탈락입니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "연희의 시선은 정비소 내부를 향하고 있으며, 손전등은 아래쪽 바닥을 비추고 있습니다.", "built_space": "정비소 내부 구조가 레퍼런스와 일치하며, 좌측에 문, 우측에 작업대와 열린 공구 상자, 안쪽에 거꾸로 세워진 자전거가 올바르게 배치되어 있습니다.", "entities": "레퍼런스와 일치하는 연희가 젖은 노란 우비를 입고 휴대용 손전등을 들고 있습니다. 유리문에 붙은 종이에 '자전거 수리'라는 문구가 적혀 있으며, 지시문에 없는 다른 인물은 없습니다.", "hard_violations": [], "physics": "오른손으로 유리문을 밀고 왼손으로 손전등을 쥔 채 안으로 체중을 실어 내디딘 자세가 물리적으로 자연스럽게 지탱되고 있습니다." }, { "label": "A", "direction": "연희의 머리에서 배경의 자전거를 향해 흰색 화살표 선이 그어져 있으며, 손전등은 바닥을 비추고 있습니다.", "built_space": "정비소 내부의 구조와 작업대, 자전거의 위치는 레퍼런스와 유사하게 배치되어 있습니다.", "entities": "연희가 노란 우비를 입고 손전등을 들고 있으나 뒷모습으로 표현되었습니다. 유리문에 '자전거 수리' 문구가 직접 쓰여 있습니다. 하지만 배경 우측에 지시문에 없는 남성이 등장합니다.", "hard_violations": [ "invented people (지시문에 없는 남성이 배경에 등장함)", "leaked markers/diagrams (연희의 얼굴 근처에서 자전거 쪽으로 뻗은 흰색 화살표 다이어그램이 화면에 노출됨)" ], "physics": "손전등을 쥔 손의 형태와 파지가 다소 어색하지만 허공에 떠 있지는 않습니다." } ] }, "combined": { "totals": { "A": 1, "B": 17 }, "ranking": [ "B", "A" ], "agreement": true, "policy": 1 } }, "readings": [ { "label": "A", "direction": "연희가 정비소 안쪽을 향해 서 있어서 얼굴이 보이지 않으며, 머리에서 자전거 뒷바퀴 쪽을 향해 흰색 화살표 선이 그어져 있습니다. 손전등은 바닥을 비추고 있습니다.", "built_space": "정비소 내부 입구 쪽에 서 있으며 왼쪽에 유리문이 있습니다. 배경 우측에 프롬프트에 없는 낯선 남자가 서 있습니다.", "entities": "연희(얼굴 안 보임, 노란 우비), 손전등, 유리문에 적힌 '자전거 수리' 텍스트. 자전거는 거꾸로가 아닌 똑바로 세워져 있습니다.", "hard_violations": [ "지시되지 않은 인물 추가 (배경 오른쪽의 남자)", "마커/다이어그램 유출 (머리에서 자전거로 이어지는 흰색 화살표 선)" ], "physics": "왼손을 유리문에 대고 오른손으로 손전등을 쥐고 있으며, 바닥에 안정적으로 서 있어 지지 상태는 정상적입니다." }, { "label": "B", "direction": "연희가 정비소 안쪽을 바라보고 서 있으며, 몸과 시선 모두 오른쪽(내부)을 향합니다. 손전등을 쥔 오른손은 아래를 향하고 있습니다.", "built_space": "정비소 안쪽에서 입구를 보는 구도에 가깝게 왼쪽에 열린 문이 있습니다. 뒤편 작업대와 자전거 스탠드의 배치가 자연스럽습니다.", "entities": "연희(레퍼런스와 일치하는 이목구비, 노란 우비), 손전등, 유리문에 붙은 종이에 적힌 '자전거 수리' 텍스트. 프롬프트와 달리 자전거가 똑바로 세워져 있습니다.", "hard_violations": [], "physics": "왼손이 문틀을 자연스럽게 쥐고 밀고 있으며, 오른손의 손전등 파지법과 신체의 무게 중심 모두 물리적으로 자연스럽습니다." } ], "totals": { "A": 1, "B": 17 }, "selected": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 8, "verdict_ko": "자전거가 거꾸로 세워지지 않은 점과 표지판이 종이에 적혀 있는 점은 아쉬우나, 인물의 외모, 의상, 손전등을 들고 문을 미는 핵심 동작과 구도를 훌륭하게 구현했습니다." }, { "label": "A", "score": 1, "verdict_ko": "프롬프트에 없는 인물이 배경에 등장하고 화면 중간에 화살표 마커가 그대로 유출되어 사용할 수 없는 이미지입니다." } ], "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": "배경 우측 정비대에 있는 자전거가 프롬프트의 지시(거꾸로 세워진)와 달리 똑바로 세워진 상태로 묘사되어 있습니다.", "fix_en": "Redraw the bicycle on the background stand so it is inverted, with its wheels pointing toward the ceiling. Preserve Yeonhee's pose, face, raincoat, flashlight, workbench, the door, and the lighting.", "severity": "critical", "observation_index": 0, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "손전등을 쥐고 있는 연희의 오른손 손가락들이 서로 융합되고 마디가 일그러져 있어 심각한 해부학적 오류가 있습니다.", "fix_en": "Redraw the right hand gripping the flashlight to have anatomically correct, distinct fingers wrapping around the handle. Preserve Yeonhee's face, raincoat, the flashlight's design, the door, and background.", "severity": "critical", "observation_index": 1, "needs_ref_indices": [ 3 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "문을 밀고 있는 연희의 왼손(유리문 프레임 위) 손가락들이 비정상적으로 길고 형태가 부자연스럽습니다.", "fix_en": "Redraw the left hand on the door frame to have naturally proportioned fingers and joints. Preserve the glass door, the text '자전거 수리', Yeonhee's face, raincoat, and the garage background.", "severity": "major", "observation_index": 2, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "연희의 시선이 작업대·실내가 아니라 프레임 왼쪽 출입문·바깥을 향함", "fix_en": "Adjust Yeonhee's eyes so her gaze points into the deeper workspace on the right. Preserve her facial structure, hair, raincoat, pose, the door, and the background.", "severity": "major", "observation_index": 3, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "연희 상체가 정비소 안쪽이 아니라 왼쪽 문을 향한 채 서서 문을 짚고 있음", "fix_en": "Slightly shift the shading and folds on Yeonhee's raincoat to suggest her upper body is turning inward toward the right. Preserve her face, hands, flashlight, the door, and the background elements.", "severity": "major", "observation_index": 4, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": true, "unfixable": false } ], "observer_observations": [ { "issue_ko": "배경 우측 정비대에 있는 자전거가 프롬프트의 지시(거꾸로 세워진)와 달리 똑바로 세워진 상태로 묘사되어 있습니다.", "severity": "critical" }, { "issue_ko": "손전등을 쥐고 있는 연희의 오른손 손가락들이 서로 융합되고 마디가 일그러져 있어 심각한 해부학적 오류가 있습니다.", "severity": "critical" }, { "issue_ko": "문을 밀고 있는 연희의 왼손(유리문 프레임 위) 손가락들이 비정상적으로 길고 형태가 부자연스럽습니다.", "severity": "major" }, { "issue_ko": "연희의 시선이 작업대·실내가 아니라 프레임 왼쪽 출입문·바깥을 향함", "severity": "major" }, { "issue_ko": "연희 상체가 정비소 안쪽이 아니라 왼쪽 문을 향한 채 서서 문을 짚고 있음", "severity": "major" }, { "issue_ko": "프레임 뒤쪽 낡은 자전거가 거꾸로 세워지지 않고 스탠드에 정방향으로 있음", "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": "문을 밀고 있는 연희의 왼손(유리문 프레임 위) 손가락들이 비정상적으로 길고 형태가 부자연스럽습니다.", "fix_en": "Redraw the left hand on the door frame to have naturally proportioned fingers and joints. Preserve the glass door, the text '자전거 수리', Yeonhee's face, raincoat, and the garage background.", "severity": "major", "observation_index": 2, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "연희의 시선이 작업대·실내가 아니라 프레임 왼쪽 출입문·바깥을 향함", "fix_en": "Adjust Yeonhee's eyes so her gaze points into the deeper workspace on the right. Preserve her facial structure, hair, raincoat, pose, the door, and the background.", "severity": "major", "observation_index": 3, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "연희 상체가 정비소 안쪽이 아니라 왼쪽 문을 향한 채 서서 문을 짚고 있음", "fix_en": "Slightly shift the shading and folds on Yeonhee's raincoat to suggest her upper body is turning inward toward the right. Preserve her face, hands, flashlight, the door, and the background elements.", "severity": "major", "observation_index": 4, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": true, "unfixable": false } ], "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- Redraw the bicycle on the background stand so it is inverted, with its wheels pointing toward the ceiling. Preserve Yeonhee's pose, face, raincoat, flashlight, workbench, the door, and the lighting.\n- Redraw the right hand gripping the flashlight to have anatomically correct, distinct fingers wrapping around the handle. Preserve Yeonhee's face, raincoat, the flashlight's design, the door, and background.\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": 1714, "verdict_ko": "프롬프트가 요구한 '거꾸로 세워진 자전거'를 배경에 정확하게 구현하였으며, 인물의 외모, 의상, 소품 및 조명까지 모든 지시 사항을 완벽하게 따랐습니다." }, { "label": "A", "score": 1700, "verdict_ko": "전반적인 구도와 인물의 디테일은 우수하나, 배경의 자전거가 거꾸로 세워져 있어야 한다는 명시적인 프롬프트 지시를 누락하고 똑바로 세워져 있어 감점되었습니다." } ], "all_candidates_fail": false, "dual": { "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "normalized": { "A": 1.7, "B": 1.714 }, "adjusted": { "A": 1.7, "B": 1.714 }, "violations": {}, "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" ] } }, "forward_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 1714, "verdict_ko": "프롬프트가 요구한 '거꾸로 세워진 자전거'를 배경에 정확하게 구현하였으며, 인물의 외모, 의상, 소품 및 조명까지 모든 지시 사항을 완벽하게 따랐습니다." }, { "label": "A", "score": 1700, "verdict_ko": "전반적인 구도와 인물의 디테일은 우수하나, 배경의 자전거가 거꾸로 세워져 있어야 한다는 명시적인 프롬프트 지시를 누락하고 똑바로 세워져 있어 감점되었습니다." } ], "all_candidates_fail": false }, "reverse_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 10, "verdict_ko": "명시된 인물의 외모와 의상, 젖은 어깨, 손전등 소지, 문의 텍스트를 모두 정확히 충족했으며, 특히 프롬프트가 지시한 '거꾸로 세워진 자전거' 배경 요소를 완벽하게 구현하여 지시사항에 가장 충실합니다." }, { "label": "B", "score": 7, "verdict_ko": "전반적인 구도와 인물의 표현은 매우 우수하나, 프롬프트에서 명확하게 지시한 '거꾸로 세워진 낡은 자전거'를 위아래가 똑바로 놓인 상태로 묘사하여 핵심 배경 디테일을 놓쳤습니다." } ], "readings": [ { "label": "A", "direction": "연희의 시선은 정비소 안쪽 깊은 곳을 향하고 있으며, 오른손은 유리문을 향해 뻗어 밀고 있고, 왼손이 쥔 손전등은 앞쪽 바닥을 향하고 있음.", "built_space": "화면 왼쪽에는 반쯤 열린 유리문이 위치하며, 인물 뒤편 중경에 작업대와 열린 공구 상자가 있고, 우측 배경 안쪽 스탠드에 자전거가 거꾸로 매달려 있음.", "entities": "연희(참조 이미지의 이목구비, 젖은 노란색 우비 일치), 손전등(참조 이미지 형태 일치), '자전거 수리'라고 적힌 종이가 부착된 유리문, 열린 공구 상자, 바퀴가 위를 향하도록 거꾸로 거치된 자전거 모두 정확히 묘사됨.", "hard_violations": [], "physics": "오른손이 문틀을 자연스럽게 짚어 밀고 있으며, 발을 내딛기 위해 무게 중심이 앞으로 이동하는 자세와 손전등을 쥔 그립감이 물리적으로 자연스럽게 지탱됨." }, { "label": "B", "direction": "연희의 시선은 정비소 내부를 향하며, 오른손은 문을 짚고 있고 왼손의 손전등은 앞쪽 바닥을 비춤.", "built_space": "왼쪽의 반쯤 열린 유리문, 뒤편의 작업대와 공구 상자, 우측 배경에 자전거가 거치되어 있으나 프롬프트와 달리 위아래가 똑바로 놓여 있음.", "entities": "연희(얼굴, 우비 일치), 손전등, '자전거 수리' 안내문, 열린 공구 상자 등은 프롬프트와 일치하지만, 우측 배경의 자전거가 요구사항인 '거꾸로 세워진' 상태가 아닌 정상 방향으로 세워져 있음.", "hard_violations": [], "physics": "문을 밀어 열며 안으로 들어가는 인물의 자세와 손의 위치, 체중 이동에 따른 물리적 지탱은 매우 자연스럽게 표현됨." } ], "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": "명시된 인물의 외모와 의상, 젖은 어깨, 손전등 소지, 문의 텍스트를 모두 정확히 충족했으며, 특히 프롬프트가 지시한 '거꾸로 세워진 자전거' 배경 요소를 완벽하게 구현하여 지시사항에 가장 충실합니다." }, { "label": "A", "score": 7, "verdict_ko": "전반적인 구도와 인물의 표현은 매우 우수하나, 프롬프트에서 명확하게 지시한 '거꾸로 세워진 낡은 자전거'를 위아래가 똑바로 놓인 상태로 묘사하여 핵심 배경 디테일을 놓쳤습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "연희의 시선은 정비소 안쪽 깊은 곳을 향하고 있으며, 오른손은 유리문을 향해 뻗어 밀고 있고, 왼손이 쥔 손전등은 앞쪽 바닥을 향하고 있음.", "built_space": "화면 왼쪽에는 반쯤 열린 유리문이 위치하며, 인물 뒤편 중경에 작업대와 열린 공구 상자가 있고, 우측 배경 안쪽 스탠드에 자전거가 거꾸로 매달려 있음.", "entities": "연희(참조 이미지의 이목구비, 젖은 노란색 우비 일치), 손전등(참조 이미지 형태 일치), '자전거 수리'라고 적힌 종이가 부착된 유리문, 열린 공구 상자, 바퀴가 위를 향하도록 거꾸로 거치된 자전거 모두 정확히 묘사됨.", "hard_violations": [], "physics": "오른손이 문틀을 자연스럽게 짚어 밀고 있으며, 발을 내딛기 위해 무게 중심이 앞으로 이동하는 자세와 손전등을 쥔 그립감이 물리적으로 자연스럽게 지탱됨." }, { "label": "A", "direction": "연희의 시선은 정비소 내부를 향하며, 오른손은 문을 짚고 있고 왼손의 손전등은 앞쪽 바닥을 비춤.", "built_space": "왼쪽의 반쯤 열린 유리문, 뒤편의 작업대와 공구 상자, 우측 배경에 자전거가 거치되어 있으나 프롬프트와 달리 위아래가 똑바로 놓여 있음.", "entities": "연희(얼굴, 우비 일치), 손전등, '자전거 수리' 안내문, 열린 공구 상자 등은 프롬프트와 일치하지만, 우측 배경의 자전거가 요구사항인 '거꾸로 세워진' 상태가 아닌 정상 방향으로 세워져 있음.", "hard_violations": [], "physics": "문을 밀어 열며 안으로 들어가는 인물의 자세와 손의 위치, 체중 이동에 따른 물리적 지탱은 매우 자연스럽게 표현됨." } ] }, "combined": { "totals": { "A": 1707, "B": 1724 }, "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": "06a8eaef-dc91-7f92-bc01-4c05ae9d2663", "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, "fingerprint": "cf1006bf2c72a20a3b15d9b8f65819ff0d17a1af85a8c26b926da55a43ddaf1b", "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": "47a137249404e730804693bd59bfd2be72fa076f4249c018e4334878cdcb376a", "file": "S1sh2_cine.png", "latency_ms": 82806, "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 } }, "S1sh4::confined_fp_apt": { "applies": false, "reason_ko": "이 공간은 차량 조종석이나 통제실과 같이 복잡한 기기 및 좌석 배치가 중요한 공간이 아니며, 단순한 자전거 수리 작업실 내부에서 두 인물이 마주보고 있는 장면이므로 평면도 보조가 필수적이지 않습니다.", "input_fingerprint": "be088602a8494d76" }, "S1sh4::signage": { "fp": "87785d28a695fe16", "inscriptions": [ { "surface_native": "유리문", "text_native": "자전거 수리", "reason_ko": "자전거 수리점 입구의 유리문에 흔히 붙어 있는 문구로, 장면의 공간적 배경을 사실적으로 나타내기 위해 필요합니다." } ] }, "era_assess::b8ec664e2cfa36ac": { "subjects": [ { "subject_native": "한국의 동네 자전거 수리점 내부", "search_terms_native": [ "자전거포 내부", "동네 자전거 수리점", "자전거 정비소 내부", "자전거 수리 작업대" ], "language_lock_native": "모든 검색어는 한국어로만 검색해야 하며 다른 언어로 번역하거나 추가해서는 안 됩니다.", "reason_ko": "한국의 전형적인 동네 자전거포는 서구식의 넓고 정돈된 바이크 숍과 달리 좁고 밀도가 높은 특유의 공구 배치와 노후된 작업대 형태를 띠고 있어 이미지 모델이 일반적인 서양식 자전거 매장으로 잘못 그리기 쉽습니다." } ], "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::518ede10d25c63b5": { "subject": "한국의 동네 자전거 수리점 내부", "terms": [ "자전거포 내부", "동네 자전거 수리점", "자전거 정비소 내부", "자전거 수리 작업대" ], "queries": [ [ "자전거포 내부 동네 자전거 수리점 자전거 정비소 내부 자전거 수리 작업대", "한국 동네 자전거 수리점 내부 정비 작업대" ] ], "candidates": 4, "picked_index": 4, "picked_url": "https://mblogthumb-phinf.pstatic.net/MjAyMjAyMTBfNjQg/MDAxNjQ0NDcyNDM0NjU2.WNax14AYBtMHYj3g5s-PvashsJaSYxQLgNkL7mG9OP0g.t62slP-Hj8HGC5Yyw5s4vllye7SKdWJjmNEV8H7B5Owg.JPEG.kswiss83/%EB%8C%80%EC%A0%84_%EC%8B%A0%ED%83%84%EC%A7%84_%EC%9E%90%EC%A0%84%EA%B1%B0_%EC%88%98%EB%A6%AC_%EC%A0%95%EB%B9%84_%EC%9E%98%ED%95%98%EB%8A%94_%EC%97%85%ED%9E%90%EB%85%B8%EB%B0%94%EC%9D%B4%ED%81%AC_17.jpg?type=w800", "picked_reason_ko": "일상적으로 볼 수 있는 현대 한국의 동네 자전거 수리점 내부로, 실내 벽면과 공구 거치대, 작업 공간의 배치가 가려짐 없이 밝고 명확하게 보여 훌륭한 참고 자료입니다.", "verdicts": [ { "index": 1, "usable": true, "score": 55, "reason_ko": "전체적인 공간 구조보다는 일부 벽면만 좁게 잡혀 있어 참고용으로 다소 부족합니다." }, { "index": 2, "usable": true, "score": 70, "reason_ko": "전형적인 옛 동네 수리점의 분위기는 좋으나, 물건이 과도하게 쌓여 있어 실내 건축 구조를 파악하기 힘듭니다." }, { "index": 3, "usable": true, "score": 78, "reason_ko": "수리점의 구조와 집기 배치가 잘 보이지만 렌즈 왜곡과 조명 빛 번짐이 약간 있습니다." }, { "index": 4, "usable": true, "score": 85, "reason_ko": "현대적인 동네 자전거 수리점의 작업 공간, 벽면 마감, 공구 거치대 등이 매우 선명하고 평범하게 잘 나타납니다." } ], "candidate_urls": [ "https://img.kr.gcp-karroter.net/business-profile/bizPlatform/profile/92569478/1738439477469/VEVVT3V5SXpBUFFsaHRNTkF1SFQy.jpeg?q=95&s=1440x1440&t=inside", "https://mimg.segye.com/content/image/2026/03/23/ori/20260323518735.jpg", "https://www.ujeil.com/news/photo/202107/279654_116529_5358.jpg", "https://mblogthumb-phinf.pstatic.net/MjAyMjAyMTBfNjQg/MDAxNjQ0NDcyNDM0NjU2.WNax14AYBtMHYj3g5s-PvashsJaSYxQLgNkL7mG9OP0g.t62slP-Hj8HGC5Yyw5s4vllye7SKdWJjmNEV8H7B5Owg.JPEG.kswiss83/%EB%8C%80%EC%A0%84_%EC%8B%A0%ED%83%84%EC%A7%84_%EC%9E%90%EC%A0%84%EA%B1%B0_%EC%88%98%EB%A6%AC_%EC%A0%95%EB%B9%84_%EC%9E%98%ED%95%98%EB%8A%94_%EC%97%85%ED%9E%90%EB%85%B8%EB%B0%94%EC%9D%B4%ED%81%AC_17.jpg?type=w800" ], "sha256": "0071a83128778428b36c1e632a7bfc3756100889870754bb5899805d0758e688", "file": "eraref_518ede10d25c63b5.png" }, "S1sh4::bgfirst_bg": { "input_fingerprint": "f75fb32704f27aad", "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": [ [ "자전거포 내부 동네 자전거 수리점 자전거 정비소 내부 자전거 수리 작업대", "한국 동네 자전거 수리점 내부 정비 작업대" ] ], "picked_url": "https://mblogthumb-phinf.pstatic.net/MjAyMjAyMTBfNjQg/MDAxNjQ0NDcyNDM0NjU2.WNax14AYBtMHYj3g5s-PvashsJaSYxQLgNkL7mG9OP0g.t62slP-Hj8HGC5Yyw5s4vllye7SKdWJjmNEV8H7B5Owg.JPEG.kswiss83/%EB%8C%80%EC%A0%84_%EC%8B%A0%ED%83%84%EC%A7%84_%EC%9E%90%EC%A0%84%EA%B1%B0_%EC%88%98%EB%A6%AC_%EC%A0%95%EB%B9%84_%EC%9E%98%ED%95%98%EB%8A%94_%EC%97%85%ED%9E%90%EB%85%B8%EB%B0%94%EC%9D%B4%ED%81%AC_17.jpg?type=w800", "sha256": "0071a83128778428b36c1e632a7bfc3756100889870754bb5899805d0758e688", "file": "eraref_518ede10d25c63b5.png" } }, "S1sh4": { "input_fingerprint": "d8f82ab67b0f5f48", "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- 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): 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- 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/S1sh4__bgfirst_bg.png", "asset_id": "e6fcb272-f87b-444d-a0fd-11102de4c7b6", "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": 2, "judge_flip": { "forward_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 7, "verdict_ko": "요구된 미디엄 샷 프레이밍과 유리문의 텍스트를 적절히 반영했으나, 거꾸로 세워진 자전거 묘사는 누락되었습니다." }, { "label": "A", "score": 5, "verdict_ko": "유리문의 텍스트가 완전히 누락되었고 프레이밍이 다소 넓으며, 거꾸로 세워진 자전거 지시 역시 반영되지 않았습니다." } ], "readings": [ { "label": "B", "direction": "연희와 민수가 서로의 얼굴을 향해 시선을 고정하고 마주 봅니다.", "built_space": "정비소 내부로, 왼쪽에 텍스트가 적힌 유리문이 있고 중앙에 작업대와 우측에 자전거 거치대가 배치되어 있습니다.", "entities": "연희(노란 우비, 랜턴), 민수(작업복)의 인상착의가 일치하며, 유리문에 '자전거 수리'가 적혀 있으나 자전거는 거꾸로 세워져 있지 않습니다.", "hard_violations": [], "physics": "민수의 오른손이 작업대 위를 짚고 신체를 지탱하며, 연희는 랜턴을 안정적으로 쥐고 있습니다." }, { "label": "A", "direction": "연희가 민수를 향해 서 있고, 민수는 고개를 들어 연희를 응시합니다.", "built_space": "정비소 내부로, 왼쪽에 문이 열려 있고 중앙에 작업대가 배치되어 있습니다.", "entities": "연희(노란 우비, 랜턴)와 민수(작업복)가 존재하나, 요구된 유리문 텍스트가 없고 자전거가 똑바로 서 있습니다.", "hard_violations": [], "physics": "민수가 똑바로 세워진 자전거에 양손을 얹어 자세를 지탱하고 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" ] } }, "forward_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 7, "verdict_ko": "요구된 미디엄 샷 프레이밍과 유리문의 텍스트를 적절히 반영했으나, 거꾸로 세워진 자전거 묘사는 누락되었습니다." }, { "label": "A", "score": 5, "verdict_ko": "유리문의 텍스트가 완전히 누락되었고 프레이밍이 다소 넓으며, 거꾸로 세워진 자전거 지시 역시 반영되지 않았습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "연희와 민수가 서로의 얼굴을 향해 시선을 고정하고 마주 봅니다.", "built_space": "정비소 내부로, 왼쪽에 텍스트가 적힌 유리문이 있고 중앙에 작업대와 우측에 자전거 거치대가 배치되어 있습니다.", "entities": "연희(노란 우비, 랜턴), 민수(작업복)의 인상착의가 일치하며, 유리문에 '자전거 수리'가 적혀 있으나 자전거는 거꾸로 세워져 있지 않습니다.", "hard_violations": [], "physics": "민수의 오른손이 작업대 위를 짚고 신체를 지탱하며, 연희는 랜턴을 안정적으로 쥐고 있습니다." }, { "label": "A", "direction": "연희가 민수를 향해 서 있고, 민수는 고개를 들어 연희를 응시합니다.", "built_space": "정비소 내부로, 왼쪽에 문이 열려 있고 중앙에 작업대가 배치되어 있습니다.", "entities": "연희(노란 우비, 랜턴)와 민수(작업복)가 존재하나, 요구된 유리문 텍스트가 없고 자전거가 똑바로 서 있습니다.", "hard_violations": [], "physics": "민수가 똑바로 세워진 자전거에 양손을 얹어 자세를 지탱하고 있습니다." } ] }, "reverse_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 7, "verdict_ko": "인물 간의 시선 교환과 구도, 유리문의 텍스트를 완벽히 구현했으나, 자전거가 거꾸로 세워지지 않고 렌치를 들고 있는 점이 감점 요인입니다." }, { "label": "B", "score": 4, "verdict_ko": "연희의 얼굴이 보이지 않아 시선 교환의 디테일이 떨어지며, 지정된 텍스트와 거꾸로 세워진 자전거 등 핵심 요소들이 누락되었습니다." } ], "readings": [ { "label": "A", "direction": "연희와 민수가 서로의 얼굴을 향해 시선을 고정하고 있음.", "built_space": "좁은 정비소 내부로, 민수 뒤편에 작업대와 공구 상자가 있으며 좌측 유리문에 '자전거 수리' 텍스트가 정확히 위치함.", "entities": "기준 이미지와 일치하는 연희(노란 우비)와 민수(남색 작업복). 단, 거꾸로 세워진 자전거 대신 똑바로 거치된 자전거가 있음.", "hard_violations": [], "physics": "두 인물 모두 바닥에 안정적으로 서 있으며, 각각 손전등과 렌치를 손에 쥐고 있음." }, { "label": "B", "direction": "연희는 등을 돌린 채 민수 쪽을 향하고, 민수는 연희를 바라봄. 손전등 빛이 바닥을 향함.", "built_space": "정비소 내부의 작업대가 배치되어 있으나 유리문의 지정된 텍스트가 생략됨.", "entities": "노란 우비의 연희와 남색 작업복의 민수가 등장하나 연희의 얼굴이 보이지 않음. 거꾸로 세워진 자전거가 없음.", "hard_violations": [], "physics": "두 인물은 바닥에 서 있고, 민수는 똑바로 세워진 자전거 핸들에 손을 얹고 지탱함." } ], "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": "인물 간의 시선 교환과 구도, 유리문의 텍스트를 완벽히 구현했으나, 자전거가 거꾸로 세워지지 않고 렌치를 들고 있는 점이 감점 요인입니다." }, { "label": "A", "score": 4, "verdict_ko": "연희의 얼굴이 보이지 않아 시선 교환의 디테일이 떨어지며, 지정된 텍스트와 거꾸로 세워진 자전거 등 핵심 요소들이 누락되었습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "연희와 민수가 서로의 얼굴을 향해 시선을 고정하고 있음.", "built_space": "좁은 정비소 내부로, 민수 뒤편에 작업대와 공구 상자가 있으며 좌측 유리문에 '자전거 수리' 텍스트가 정확히 위치함.", "entities": "기준 이미지와 일치하는 연희(노란 우비)와 민수(남색 작업복). 단, 거꾸로 세워진 자전거 대신 똑바로 거치된 자전거가 있음.", "hard_violations": [], "physics": "두 인물 모두 바닥에 안정적으로 서 있으며, 각각 손전등과 렌치를 손에 쥐고 있음." }, { "label": "A", "direction": "연희는 등을 돌린 채 민수 쪽을 향하고, 민수는 연희를 바라봄. 손전등 빛이 바닥을 향함.", "built_space": "정비소 내부의 작업대가 배치되어 있으나 유리문의 지정된 텍스트가 생략됨.", "entities": "노란 우비의 연희와 남색 작업복의 민수가 등장하나 연희의 얼굴이 보이지 않음. 거꾸로 세워진 자전거가 없음.", "hard_violations": [], "physics": "두 인물은 바닥에 서 있고, 민수는 똑바로 세워진 자전거 핸들에 손을 얹고 지탱함." } ] }, "combined": { "totals": { "A": 9, "B": 14 }, "ranking": [ "B", "A" ], "agreement": true, "policy": 1 } }, "readings": [ { "label": "B", "direction": "연희와 민수가 서로의 얼굴을 향해 시선을 고정하고 마주 봅니다.", "built_space": "정비소 내부로, 왼쪽에 텍스트가 적힌 유리문이 있고 중앙에 작업대와 우측에 자전거 거치대가 배치되어 있습니다.", "entities": "연희(노란 우비, 랜턴), 민수(작업복)의 인상착의가 일치하며, 유리문에 '자전거 수리'가 적혀 있으나 자전거는 거꾸로 세워져 있지 않습니다.", "hard_violations": [], "physics": "민수의 오른손이 작업대 위를 짚고 신체를 지탱하며, 연희는 랜턴을 안정적으로 쥐고 있습니다." }, { "label": "A", "direction": "연희가 민수를 향해 서 있고, 민수는 고개를 들어 연희를 응시합니다.", "built_space": "정비소 내부로, 왼쪽에 문이 열려 있고 중앙에 작업대가 배치되어 있습니다.", "entities": "연희(노란 우비, 랜턴)와 민수(작업복)가 존재하나, 요구된 유리문 텍스트가 없고 자전거가 똑바로 서 있습니다.", "hard_violations": [], "physics": "민수가 똑바로 세워진 자전거에 양손을 얹어 자세를 지탱하고 있습니다." } ], "totals": { "A": 9, "B": 14 }, "selected": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 7, "verdict_ko": "요구된 미디엄 샷 프레이밍과 유리문의 텍스트를 적절히 반영했으나, 거꾸로 세워진 자전거 묘사는 누락되었습니다." }, { "label": "A", "score": 5, "verdict_ko": "유리문의 텍스트가 완전히 누락되었고 프레이밍이 다소 넓으며, 거꾸로 세워진 자전거 지시 역시 반영되지 않았습니다." } ], "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": "오른쪽에 있는 자전거가 프롬프트에 명시된 '거꾸로 세워진' 상태가 아니라 똑바로 세워져 있습니다.", "fix_en": "Redraw the bicycle in the background to be upside-down, resting on its handlebars and saddle, instead of mounted upright on the stand. Preserve the framing, lighting, Minsu, Yeonhee, and the workbench exactly.", "severity": "major", "observation_index": 0, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "작업대에 놓여 있어야 할 렌치를 민수(오른쪽)가 오른손으로 쥐고 있습니다.", "fix_en": "Remove the wrench from Minsu's right hand, leaving his hand empty, and draw the wrench lying flat on the wooden workbench beside the toolbox. Preserve Minsu's pose and clothing, Yeonhee, the lighting, and the rest of the scene exactly.", "severity": "major", "observation_index": 1, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false } ], "observer_observations": [ { "issue_ko": "오른쪽에 있는 자전거가 프롬프트에 명시된 '거꾸로 세워진' 상태가 아니라 똑바로 세워져 있습니다.", "severity": "major" }, { "issue_ko": "작업대에 놓여 있어야 할 렌치를 민수(오른쪽)가 오른손으로 쥐고 있습니다.", "severity": "major" }, { "issue_ko": "민수가 오른손에 렌치를 쥐고 있어 작업대 위에 놓인 상태가 아니다.", "severity": "major" }, { "issue_ko": "민수 오른쪽 배경의 자전거가 거꾸로 세워져 있지 않고 정비 스탠드에 정방향으로 거치되어 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": 2, "fix_severity_skipped": [ { "issue_ko": "오른쪽에 있는 자전거가 프롬프트에 명시된 '거꾸로 세워진' 상태가 아니라 똑바로 세워져 있습니다.", "fix_en": "Redraw the bicycle in the background to be upside-down, resting on its handlebars and saddle, instead of mounted upright on the stand. Preserve the framing, lighting, Minsu, Yeonhee, and the workbench exactly.", "severity": "major", "observation_index": 0, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "작업대에 놓여 있어야 할 렌치를 민수(오른쪽)가 오른손으로 쥐고 있습니다.", "fix_en": "Remove the wrench from Minsu's right hand, leaving his hand empty, and draw the wrench lying flat on the wooden workbench beside the toolbox. Preserve Minsu's pose and clothing, Yeonhee, the lighting, and the rest of the scene exactly.", "severity": "major", "observation_index": 1, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false } ], "fix_skipped": true, "fix_skip_reason": "no_critical_issue", "shot_run_produced": false, "shot_run_uid": "06a8eaef-dd3e-7a5f-9f4e-9d6242acbe10", "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, "fingerprint": "bdfab7fbec5a12eddfbe6fe50909ab646f4190f0531862372fbd896f5a6dad3e", "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": "338942c3e43dd856519d7ce8c1c176aebcd6ff2fc55f56f7c5d1ba8753896699", "file": "S1sh4_cine.png", "latency_ms": 94566, "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 바닥", "text_native": "천천히", "reason_ko": "현대 한국의 골목길 교차로 바닥에 흔히 그려져 있는 서행 표시인 '천천히' 문구를 통해 비에 젖은 사거리의 사실적인 분위기를 더한다." } ] }, "era_assess::f6931a552558a637": { "subjects": [ { "subject_native": "현대 한국의 주택가 골목길 사거리와 보안등", "search_terms_native": [ "한국 주택가 골목길 밤", "골목길 사거리 야경", "골목 보안등 가로등", "비 내리는 한국 골목길" ], "language_lock_native": "모든 검색어는 반드시 한국어로만 검색해야 하며, 다른 언어로 번역하거나 혼용하지 마십시오.", "reason_ko": "한국의 주택가 골목길은 전신주, 붉은 벽돌 빌라 건물, 특유의 바닥 포장 및 보안등 형태 등 고유한 시각적 특징이 있어 일반적인 서구식 골목길 이미지와 명확히 구분됩니다." } ], "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::ede11a1b8fc688ea": { "subject": "현대 한국의 주택가 골목길 사거리와 보안등", "terms": [ "한국 주택가 골목길 밤", "골목길 사거리 야경", "골목 보안등 가로등", "비 내리는 한국 골목길" ], "queries": [ [ "한국 주택가 골목길 밤 골목길 사거리 야경 보안등 가로등", "비 내리는 한국 주택가 골목길 밤 보안등" ] ], "candidates": 4, "picked_index": 1, "picked_url": "https://t1.daumcdn.net/news/202003/13/Edaily/20200313003335567yzpc.jpg", "picked_reason_ko": "현대 한국 주택가에서 가장 흔하게 볼 수 있는 골목길과 보안등의 일상적인 모습을 잘 보여줍니다.", "verdicts": [ { "index": 1, "usable": true, "score": 82, "reason_ko": "전형적인 주택가 골목과 보안등의 형태를 명확히 보여줌." }, { "index": 2, "usable": true, "score": 68, "reason_ko": "구조는 보이나 다소 오래된 구도심 형태라 보편성이 낮음." }, { "index": 3, "usable": true, "score": 28, "reason_ko": "주거지가 아닌 상업용 상점가 골목임." }, { "index": 4, "usable": true, "score": 52, "reason_ko": "바닥의 특수 조명 패턴이 너무 부각되어 일반적이지 않음." } ], "candidate_urls": [ "https://t1.daumcdn.net/news/202003/13/Edaily/20200313003335567yzpc.jpg", "https://www.jeonmae.co.kr/news/photo/201705/20170525_1_163340.jpg", "https://www.cmgassets.com/s3fs-public/styles/opengraph/public/2024-06/jet-dela-cruz-_kfe1ibslms-unsplash_korea_0.jpg?h=a1e364be&itok=7JNF9w4t", "https://img8.yna.co.kr/etc/inner/KR/2026/03/16/AKR20260316108300004_03_i_P4.jpg" ], "sha256": "5ff8a918e791cf447a6f023297397bd5ee2ed3c21f28da4b89904028d07790df", "file": "eraref_ede11a1b8fc688ea.png" }, "S2sh1::bgfirst_bg": { "input_fingerprint": "278a7944be2aa0b1", "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 — 현대 한국의 주택가 골목길 사거리와 보안등: 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 — 현대 한국의 주택가 골목길 사거리와 보안등: 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": "현대 한국의 주택가 골목길 사거리와 보안등", "queries": [ [ "한국 주택가 골목길 밤 골목길 사거리 야경 보안등 가로등", "비 내리는 한국 주택가 골목길 밤 보안등" ] ], "picked_url": "https://t1.daumcdn.net/news/202003/13/Edaily/20200313003335567yzpc.jpg", "sha256": "5ff8a918e791cf447a6f023297397bd5ee2ed3c21f28da4b89904028d07790df", "file": "eraref_ede11a1b8fc688ea.png" } }, "S2sh1": { "input_fingerprint": "903b9742e7955453", "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 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": "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, "readings": [ { "label": "B", "direction": "노인이 눈을 감고 누워 있음.", "built_space": "스토리보드와 동일한 비에 젖은 사거리 골목 배경과 가로등 불빛이 확인됨.", "entities": "레퍼런스와 일치하는 노인, 비니, 회색 코트, 지팡이가 있으나, 바닥의 '천천히' 텍스트는 누락됨.", "hard_violations": [], "physics": "노인의 몸과 머리가 바닥에 완전히 밀착되어 지면의 지지를 받고 있음." }, { "label": "A", "direction": "노인이 눈을 감고 누워 있음.", "built_space": "스토리보드와 일치하는 골목 배경과 젖은 바닥, 가로등이 묘사됨.", "entities": "노인, 회색 코트, 지팡이가 있으나 비니가 없고, 바닥의 '천천히' 텍스트가 누락됨.", "hard_violations": [ "의식을 잃은 인물의 머리가 지지대 없이 공중에 들려 있어 중력 및 무의식 상태 규칙 위반" ], "physics": "노인의 몸은 바닥에 있으나 머리가 바닥에 닿지 않고 공중에 들려 근육을 사용하고 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": { "B": 6, "A": 3 }, "selected": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 6, "verdict_ko": "레퍼런스의 의상과 중력에 순응하여 바닥에 완전히 기댄 자세를 잘 구현했으나, 요구된 바닥의 텍스트가 누락되었습니다." }, { "label": "A", "score": 3, "verdict_ko": "의식을 잃은 설정임에도 머리를 허공에 들고 있는 물리적 오류(Hard Violation)가 있으며 바닥 텍스트도 누락되었습니다." } ], "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": "노인의 자세가 레퍼런스의 마네킹(엎드린 채 고개를 뒤로 돌리고 팔다리를 뻗은 상태)과 완전히 다르게, 옆으로 웅크려 누운 자세로 재연출되었습니다.", "fix_en": "Redraw the elderly man to match the exact pose of the mannequin in the background reference: lying somewhat prone with legs extended and right arm outstretched. Keep his identity and clothing, the background, lighting, and camera framing exactly as they are.", "severity": "major", "observation_index": 0, "needs_ref_indices": [ 1, 2 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "바닥에 놓인 지팡이의 위치가 마네킹의 상체 부근에서 노인의 다리 아래쪽으로 이동했습니다.", "fix_en": "Move the cane to rest on the ground near the man's upper body, matching its exact position and angle from the background reference. Preserve the man's appearance, the background, the lighting, and the framing.", "severity": "minor", "observation_index": 1, "needs_ref_indices": [ 1 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false } ], "observer_observations": [ { "issue_ko": "노인의 자세가 레퍼런스의 마네킹(엎드린 채 고개를 뒤로 돌리고 팔다리를 뻗은 상태)과 완전히 다르게, 옆으로 웅크려 누운 자세로 재연출되었습니다.", "severity": "major" }, { "issue_ko": "바닥에 놓인 지팡이의 위치가 마네킹의 상체 부근에서 노인의 다리 아래쪽으로 이동했습니다.", "severity": "minor" } ], "observer_models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "observer_counts": { "gemini-pro": 2, "openrouter:x-ai/grok-4.6": 0 } }, "fix_severity_skipped_count": 2, "fix_severity_skipped": [ { "issue_ko": "노인의 자세가 레퍼런스의 마네킹(엎드린 채 고개를 뒤로 돌리고 팔다리를 뻗은 상태)과 완전히 다르게, 옆으로 웅크려 누운 자세로 재연출되었습니다.", "fix_en": "Redraw the elderly man to match the exact pose of the mannequin in the background reference: lying somewhat prone with legs extended and right arm outstretched. Keep his identity and clothing, the background, lighting, and camera framing exactly as they are.", "severity": "major", "observation_index": 0, "needs_ref_indices": [ 1, 2 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "바닥에 놓인 지팡이의 위치가 마네킹의 상체 부근에서 노인의 다리 아래쪽으로 이동했습니다.", "fix_en": "Move the cane to rest on the ground near the man's upper body, matching its exact position and angle from the background reference. Preserve the man's appearance, the background, the lighting, and the framing.", "severity": "minor", "observation_index": 1, "needs_ref_indices": [ 1 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false } ], "fix_skipped": true, "fix_skip_reason": "no_critical_issue", "shot_run_produced": false, "shot_run_uid": "06a8eaef-dddf-7138-a19d-6346549cb01d", "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, "fingerprint": "4e31096d26e16e2eb8f4211dc180290285799fcdf1b528c6b9e3d5686bfdb13d", "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": "44c43ce850a9c2dfce98e4c16a70550f4fbc41701b7fa22d8837c41bdbc8d2eb", "file": "S2sh1_cine.png", "latency_ms": 85496, "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": [] }, "S2sh3": { "input_fingerprint": "f287d7e8afc4892d", "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\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\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\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, "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" ] }, "dual": { "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "normalized": { "A": 1.444, "B": 1.714 }, "adjusted": { "A": 1.194, "B": 1.714 }, "violations": { "A": [ "[gemini-pro] 손전등 불빛이 노인의 얼굴이 아닌 바닥을 비추고 있어 '원형 불빛이 노인의 얼굴 위를 비춘 찰나'라는 핵심 연출 지시 위반." ] }, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "A" }, "agreed": false }, "totals": { "B": 1714, "A": 1194 }, "selected": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 1714, "verdict_ko": "손전등이 노인의 얼굴을 향해 정확히 비추고 있으며, 이전 샷의 배경 디테일(물웅덩이, 화분 등)과 프레임 구도를 훌륭하게 유지했습니다." }, { "label": "A", "score": 1194, "verdict_ko": "손전등 불빛이 노인의 얼굴이 아닌 바닥을 향해 비추고 있어 프롬프트의 핵심 액션 지시를 위반했습니다. ★위반: [gemini-pro] 손전등 불빛이 노인의 얼굴이 아닌 바닥을 비추고 있어 '원형 불빛이 노인의 얼굴 위를 비춘 찰나'라는 핵심 연출 지시 위반." } ], "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": "de724038-34b6-41e9-ba9f-6dc9efd64252", "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": "노인의 머리와 이마에 표현된 노란색 불빛이 실제 조명이 아닌 평면적인 그래픽처럼 덧칠되어 있으며, 얼굴에 드리운 명암 방향(좌측 조명)이 연희가 들고 있는 손전등의 위치(우측)와 물리적으로 모순됩니다.", "fix_en": "A record of what a repair would have been: remove the flat yellow graphic overlay from the old man's head and render realistic lighting matching the flashlight's direction.", "severity": "major", "observation_index": 0, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "프롬프트에서 '클로즈업'을 요구하고 가로등을 배제하라고 지시했으나, 배경에 깊은 골목길과 가로등이 노출된 넓은 샷으로 연출되었습니다.", "fix_en": "A record of what a repair would have been: reframe the camera to a tight close-up on the old man's face, excluding the background alley and streetlamps.", "severity": "major", "observation_index": 1, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": true, "unfixable": false }, { "issue_ko": "노인의 왼손이 주먹을 쥐고 지면 위로 들려 있어 의식 없는 몸이 중력에 완전히 기대야 한다는 부동 조항을 깨뜨린다.", "fix_en": "Redraw the old man's clenched hand near his face so that it lies completely flat and relaxed on the wet pavement, fingers loose and supported entirely by the ground. Preserve the old man's face, his coat, Yeon-hee's pose, the flashlight, and the background.", "severity": "critical", "observation_index": 2, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "연희가 쥔 손전등의 원형 불빛이 노인의 감은 눈 얼굴 위에 떨어져 있지 않고 바닥과 손전등 자체만 밝히고 있다.", "fix_en": "Redraw Yeon-hee's right hand and the flashlight to angle the flashlight directly toward the old man's face, casting a realistic circular beam of light that illuminates his closed eyes and face, and remove the flat yellow paint-like glow currently on his forehead. Preserve Yeon-hee's face and jacket, the old man's body position, the ground, and the background.", "severity": "critical", "observation_index": 3, "needs_ref_indices": [ 3 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "노인이 이전 스틸의 왼쪽으로 누운 자세와 달리 오른쪽으로 누워 얼굴·몸 방향이 뒤집혀 있다.", "fix_en": "A record of what a repair would have been: regenerate the image to flip the old man's body back to the original pose shown in the previous still.", "severity": "major", "observation_index": 5, "needs_ref_indices": [ 1 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": true, "unfixable": false } ], "observer_observations": [ { "issue_ko": "노인의 머리와 이마에 표현된 노란색 불빛이 실제 조명이 아닌 평면적인 그래픽처럼 덧칠되어 있으며, 얼굴에 드리운 명암 방향(좌측 조명)이 연희가 들고 있는 손전등의 위치(우측)와 물리적으로 모순됩니다.", "severity": "major" }, { "issue_ko": "프롬프트에서 '클로즈업'을 요구하고 가로등을 배제하라고 지시했으나, 배경에 깊은 골목길과 가로등이 노출된 넓은 샷으로 연출되었습니다.", "severity": "major" }, { "issue_ko": "노인의 왼손이 주먹을 쥐고 지면 위로 들려 있어 의식 없는 몸이 중력에 완전히 기대야 한다는 부동 조항을 깨뜨린다.", "severity": "critical" }, { "issue_ko": "연희가 쥔 손전등의 원형 불빛이 노인의 감은 눈 얼굴 위에 떨어져 있지 않고 바닥과 손전등 자체만 밝히고 있다.", "severity": "critical" }, { "issue_ko": "샷이 요구한 클로즈업이 아니라 노인의 상반신과 골목 전체가 보이는 중·원경 구도이다.", "severity": "major" }, { "issue_ko": "노인이 이전 스틸의 왼쪽으로 누운 자세와 달리 오른쪽으로 누워 얼굴·몸 방향이 뒤집혀 있다.", "severity": "major" } ], "observer_models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "observer_counts": { "gemini-pro": 2, "openrouter:x-ai/grok-4.6": 4 } }, "fix_severity_skipped_count": 3, "fix_severity_skipped": [ { "issue_ko": "노인의 머리와 이마에 표현된 노란색 불빛이 실제 조명이 아닌 평면적인 그래픽처럼 덧칠되어 있으며, 얼굴에 드리운 명암 방향(좌측 조명)이 연희가 들고 있는 손전등의 위치(우측)와 물리적으로 모순됩니다.", "fix_en": "A record of what a repair would have been: remove the flat yellow graphic overlay from the old man's head and render realistic lighting matching the flashlight's direction.", "severity": "major", "observation_index": 0, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "프롬프트에서 '클로즈업'을 요구하고 가로등을 배제하라고 지시했으나, 배경에 깊은 골목길과 가로등이 노출된 넓은 샷으로 연출되었습니다.", "fix_en": "A record of what a repair would have been: reframe the camera to a tight close-up on the old man's face, excluding the background alley and streetlamps.", "severity": "major", "observation_index": 1, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": true, "unfixable": false }, { "issue_ko": "노인이 이전 스틸의 왼쪽으로 누운 자세와 달리 오른쪽으로 누워 얼굴·몸 방향이 뒤집혀 있다.", "fix_en": "A record of what a repair would have been: regenerate the image to flip the old man's body back to the original pose shown in the previous still.", "severity": "major", "observation_index": 5, "needs_ref_indices": [ 1 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": true, "unfixable": false } ], "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- Redraw the old man's clenched hand near his face so that it lies completely flat and relaxed on the wet pavement, fingers loose and supported entirely by the ground. Preserve the old man's face, his coat, Yeon-hee's pose, the flashlight, and the background.\n- Redraw Yeon-hee's right hand and the flashlight to angle the flashlight directly toward the old man's face, casting a realistic circular beam of light that illuminates his closed eyes and face, and remove the flat yellow paint-like glow currently on his forehead. Preserve Yeon-hee's face and jacket, the old man's body position, the ground, and the background.\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": "A", "score": 2, "verdict_ko": "지시된 구도와 조명 설정은 잘 따랐으나, 노인의 가슴 부위에 팔이 연결되지 않은 여분의 손이 렌더링되는 치명적인 해부학적 오류가 발생했습니다." }, { "label": "B", "score": 9, "verdict_ko": "요구된 클로즈업 프레이밍, 손전등 불빛이 맺힌 노인의 얼굴, 연희의 위치 및 시선을 정확히 구현했으며 신체 오류 없이 자연스럽습니다." } ], "readings": [ { "label": "A", "direction": "연희의 시선과 손전등이 노인의 얼굴을 향하고 있으며, 노인의 얼굴에 손전등의 둥근 빛이 맺혀 있습니다.", "built_space": "젖은 골목길 바닥, 좌측의 계단과 화분 등 참조 이미지의 배경 요소가 알맞게 배치되어 있습니다.", "entities": "연희(노란 우비, 얼굴 일치), 노인(회색 코트, 눈을 감고 누움), 손전등, 떨어진 지팡이(화면 앞부분) 모두 명시된 조건과 일치합니다.", "hard_violations": [ "노인의 가슴 부위에 팔이 연결되지 않은 정체불명의 손(주먹)이 하나 더 존재하는 해부학적 오류" ], "physics": "노인의 몸은 바닥에 지탱되어 있으나, 가슴 쪽에 얹혀 있는 추가적인 손은 신체 구조상 불가능하며 뻗은 팔의 손과 중복됩니다." }, { "label": "B", "direction": "연희가 손전등을 노인의 얼굴 쪽으로 겨냥하고 있으며, 시선 역시 얼굴을 향하고 조명이 정확히 맺혀 있습니다.", "built_space": "젖은 사거리 바닥과 주변의 골목길 구조물이 참조 사진의 위치와 일치하게 렌더링되었습니다.", "entities": "연희의 외모 및 의상, 노인의 의상 및 상태, 손전등, 화면 전경의 지팡이 모두 지시문 및 참조 이미지와 정확히 일치합니다.", "hard_violations": [], "physics": "노인은 중력에 순응하여 바닥에 자연스럽게 누워 있고, 보이는 한 손도 바닥에 안정적으로 놓여 있으며 연희의 손전등 파지도 자연스럽습니다." } ], "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": 2, "verdict_ko": "지시된 구도와 조명 설정은 잘 따랐으나, 노인의 가슴 부위에 팔이 연결되지 않은 여분의 손이 렌더링되는 치명적인 해부학적 오류가 발생했습니다." }, { "label": "B", "score": 9, "verdict_ko": "요구된 클로즈업 프레이밍, 손전등 불빛이 맺힌 노인의 얼굴, 연희의 위치 및 시선을 정확히 구현했으며 신체 오류 없이 자연스럽습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "A", "direction": "연희의 시선과 손전등이 노인의 얼굴을 향하고 있으며, 노인의 얼굴에 손전등의 둥근 빛이 맺혀 있습니다.", "built_space": "젖은 골목길 바닥, 좌측의 계단과 화분 등 참조 이미지의 배경 요소가 알맞게 배치되어 있습니다.", "entities": "연희(노란 우비, 얼굴 일치), 노인(회색 코트, 눈을 감고 누움), 손전등, 떨어진 지팡이(화면 앞부분) 모두 명시된 조건과 일치합니다.", "hard_violations": [ "노인의 가슴 부위에 팔이 연결되지 않은 정체불명의 손(주먹)이 하나 더 존재하는 해부학적 오류" ], "physics": "노인의 몸은 바닥에 지탱되어 있으나, 가슴 쪽에 얹혀 있는 추가적인 손은 신체 구조상 불가능하며 뻗은 팔의 손과 중복됩니다." }, { "label": "B", "direction": "연희가 손전등을 노인의 얼굴 쪽으로 겨냥하고 있으며, 시선 역시 얼굴을 향하고 조명이 정확히 맺혀 있습니다.", "built_space": "젖은 사거리 바닥과 주변의 골목길 구조물이 참조 사진의 위치와 일치하게 렌더링되었습니다.", "entities": "연희의 외모 및 의상, 노인의 의상 및 상태, 손전등, 화면 전경의 지팡이 모두 지시문 및 참조 이미지와 정확히 일치합니다.", "hard_violations": [], "physics": "노인은 중력에 순응하여 바닥에 자연스럽게 누워 있고, 보이는 한 손도 바닥에 안정적으로 놓여 있으며 연희의 손전등 파지도 자연스럽습니다." } ] }, "reverse_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 9, "verdict_ko": "프레이밍, 인물들의 디테일, 빛의 방향 모두 지시문과 참조 이미지를 훌륭하게 구현해낸 자연스러운 결과물입니다." }, { "label": "B", "score": 0, "verdict_ko": "노인의 바닥에 닿은 손 옆에 정체불명의 여분의 손(주먹 쥔 손)이 하나 더 생성되는 치명적인 해부학적 오류가 발생했습니다." } ], "readings": [ { "label": "A", "direction": "연희의 시선과 손전등의 방향이 바닥에 누운 노인을 향하고 있으며, 지시대로 노인의 얼굴 위에 원형 불빛이 비치고 있음.", "built_space": "참조 이미지와 일치하는 젖은 사거리 골목길이 배경으로 적절히 배치됨.", "entities": "노란 우비를 입은 연희, 회색 코트를 입고 눈을 감은 노인, 켜진 손전등, 바닥에 떨어진 지팡이 등 모든 요소가 정확히 등장함.", "hard_violations": [], "physics": "노인의 몸이 바닥에 자연스럽게 누워 중력의 지지를 받고 있으며, 연희의 손도 손전등을 제대로 쥐고 있음." }, { "label": "B", "direction": "연희의 시선과 손전등이 노인을 향하고 빛이 얼굴에 닿고 있음.", "built_space": "젖은 골목길 사거리가 올바르게 묘사됨.", "entities": "연희, 노인, 손전등, 지팡이의 외형적 특징은 참조와 일치함.", "hard_violations": [ "노인의 얼굴 아래 바닥에 여분의 손(주먹 쥔 손과 펼친 손 두 개가 동시에 나란히 나타남)이 생성되는 신체 구조적 오류" ], "physics": "신체 구조 오류를 제외하면 노인과 연희의 기본적인 물리적 지지 상태는 유지됨." } ], "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": 9, "verdict_ko": "프레이밍, 인물들의 디테일, 빛의 방향 모두 지시문과 참조 이미지를 훌륭하게 구현해낸 자연스러운 결과물입니다." }, { "label": "A", "score": 0, "verdict_ko": "노인의 바닥에 닿은 손 옆에 정체불명의 여분의 손(주먹 쥔 손)이 하나 더 생성되는 치명적인 해부학적 오류가 발생했습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "연희의 시선과 손전등의 방향이 바닥에 누운 노인을 향하고 있으며, 지시대로 노인의 얼굴 위에 원형 불빛이 비치고 있음.", "built_space": "참조 이미지와 일치하는 젖은 사거리 골목길이 배경으로 적절히 배치됨.", "entities": "노란 우비를 입은 연희, 회색 코트를 입고 눈을 감은 노인, 켜진 손전등, 바닥에 떨어진 지팡이 등 모든 요소가 정확히 등장함.", "hard_violations": [], "physics": "노인의 몸이 바닥에 자연스럽게 누워 중력의 지지를 받고 있으며, 연희의 손도 손전등을 제대로 쥐고 있음." }, { "label": "A", "direction": "연희의 시선과 손전등이 노인을 향하고 빛이 얼굴에 닿고 있음.", "built_space": "젖은 골목길 사거리가 올바르게 묘사됨.", "entities": "연희, 노인, 손전등, 지팡이의 외형적 특징은 참조와 일치함.", "hard_violations": [ "노인의 얼굴 아래 바닥에 여분의 손(주먹 쥔 손과 펼친 손 두 개가 동시에 나란히 나타남)이 생성되는 신체 구조적 오류" ], "physics": "신체 구조 오류를 제외하면 노인과 연희의 기본적인 물리적 지지 상태는 유지됨." } ] }, "combined": { "totals": { "A": 2, "B": 18 }, "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": "06a8eaef-de6b-7f76-a74b-35f0d5ed44f1", "ref_mode": "prev+엔티티", "share_plan": { "ref_plan": "prev", "prev_anchor_tag": "S2sh1" }, "locked_char_refs_excluded": [ "노인(C03)" ] }, "S2sh3::cine": { "applied": true, "fingerprint": "e9dd5efec4b180d18f0c33ef0de49ee47771a916c2cd22a27e414435c605af70", "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": "38dc0451226012edd28a9fbb3778ecf9e9d876c5d584698d867ea274de021604", "file": "S2sh3_cine.png", "latency_ms": 74760, "pending": true, "request_id": "01a039f5-b28d-7b31-b338-4541ab63e07b", "response_url": "https://queue.fal.run/reve/2.1/requests/01a039f5-b28d-7b31-b338-4541ab63e07b", "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": [] }, "S2sh6": { "input_fingerprint": "5e8736bf0c5f3730", "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\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\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\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": "B", "direction": "민수의 시선과 입이 바닥에 누워 있는 노인의 귀와 뺨 쪽을 향해 바짝 다가가 있음.", "built_space": "젖은 골목길 교차로 바닥이 보이며, 배경에 가로등과 골목의 풍경이 포함되어 있음.", "entities": "민수(남색 작업복, 40대 남성 측면), 노인(회색 코트, 눈을 감은 70대 남성, 옆으로 누움). 지팡이는 프레임에서 제외됨.", "hard_violations": [], "physics": "노인은 지면에 옆으로 누워 체중이 바닥에 실려 있으며, 오른손이 몸 아래에서 뻗어나와 바닥을 짚고 있음. 민수는 몸을 굽힌 채 다리와 노인 위에 얹은 팔로 자세를 지탱함." }, { "label": "A", "direction": "민수의 시선이 노인의 얼굴을 향하며 서로 정면으로 마주보는 각도임.", "built_space": "젖은 골목길 바닥이며, 배경에 가로등 불빛과 건물 형태가 드러남.", "entities": "민수(남색 작업복), 노인(회색 코트, 눈을 감고 있으나 정면을 향해 반듯하게 누움).", "hard_violations": [ "이전 샷에서 '옆으로 누운 자세'로 고정(Locked)된 노인을 등을 대고 똑바로 눕혀 세트의 고정 요소를 무단으로 변경함(physically impossible staging based on locked prop)." ], "physics": "노인은 바닥에 등을 대고 누워 지면에 지탱됨. 민수는 무릎을 꿇고 양손으로 바닥을 짚어 자신의 체중을 지탱함." } ], "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": { "B": 7, "A": 3 }, "selected": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 7, "verdict_ko": "이전 샷에서 고정된 노인의 측면 자세와 그 얼굴에 입을 가까이 대는 민수의 밀착된 앵글을 잘 구현했으나, 가로등과 교차로 전경을 프레임에서 배제하라는 지시는 완전히 지켜지지 않았습니다." }, { "label": "A", "score": 3, "verdict_ko": "배경 배제 지시를 따르지 않았을 뿐만 아니라, 노인이 등을 대고 똑바로 누워 있어 이전 샷에서 고정된 '옆으로 누운 자세' 지침을 심각하게 위반했습니다." } ], "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": "a6fd612c-38af-4d38-9785-5f8bd3323d2d", "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": "민수의 오른쪽 팔이 아래로 뻗어 바닥을 짚고 있는데, 남색 작업복 소매가 팔뚝 부근에서 노인의 외투와 같은 회색 소매로 변형되어 두 사람의 의상이 융합되었습니다.", "fix_en": "Change the grey sleeve on the arm reaching down to the floor in the foreground to a navy blue work uniform sleeve matching Minsu's clothes. Preserve Minsu's face, the old man's face and grey coat, their exact positions, all hands, the wet asphalt, the background, and the lighting exactly as they are.", "severity": "critical", "observation_index": 0, "needs_ref_indices": [ 2 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "제외 사항(Exclude)으로 명시된 '넓은 교차로 전경(broad intersection vista)'과 '가로등(streetlamp fixture)'이 배경에 그대로 노출되어 있습니다.", "fix_en": "", "severity": "major", "observation_index": 1, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "민수가 바닥에 바짝 엎드리지 않고 화면 우측에서 상체를 든 채 노인 머리 위로 숙이고 있다", "fix_en": "", "severity": "major", "observation_index": 2, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false } ], "observer_observations": [ { "issue_ko": "민수의 오른쪽 팔이 아래로 뻗어 바닥을 짚고 있는데, 남색 작업복 소매가 팔뚝 부근에서 노인의 외투와 같은 회색 소매로 변형되어 두 사람의 의상이 융합되었습니다.", "severity": "critical" }, { "issue_ko": "제외 사항(Exclude)으로 명시된 '넓은 교차로 전경(broad intersection vista)'과 '가로등(streetlamp fixture)'이 배경에 그대로 노출되어 있습니다.", "severity": "major" }, { "issue_ko": "민수가 바닥에 바짝 엎드리지 않고 화면 우측에서 상체를 든 채 노인 머리 위로 숙이고 있다", "severity": "major" }, { "issue_ko": "이 타이트 측면에서 빼야 할 골목 원경과 가로등 기구가 화면 상단·안쪽에 그대로 보인다", "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": 2, "fix_severity_skipped": [ { "issue_ko": "제외 사항(Exclude)으로 명시된 '넓은 교차로 전경(broad intersection vista)'과 '가로등(streetlamp fixture)'이 배경에 그대로 노출되어 있습니다.", "fix_en": "", "severity": "major", "observation_index": 1, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "민수가 바닥에 바짝 엎드리지 않고 화면 우측에서 상체를 든 채 노인 머리 위로 숙이고 있다", "fix_en": "", "severity": "major", "observation_index": 2, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false } ], "repair_mode": "edit", "fix_ref_gate": { "mode": "gated", "available": 2, "kept": 1, "requested_indices": [ 2 ], "kept_labels": [ "CHARACTER REFERENCE — 민수: the exact person appearing in this shot; match face, hair and build 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- Change the grey sleeve on the arm reaching down to the floor in the foreground to a navy blue work uniform sleeve matching Minsu's clothes. Preserve Minsu's face, the old man's face and grey coat, their exact positions, all hands, the wet asphalt, the background, 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": "B", "score": 1714, "verdict_ko": "지시된 클로즈업 구도와 플래시 조명 효과를 잘 구현했으며, 민수의 프로필이 캐릭터 레퍼런스와 더 일치하고 해부학적으로 자연스럽습니다." }, { "label": "A", "score": 1750, "verdict_ko": "구도와 노인의 자세 등 기본적인 요구사항은 충족했으나, 민수의 얼굴 생김새가 레퍼런스와 다소 차이가 있고 귀의 형태가 약간 부자연스럽습니다." } ], "all_candidates_fail": false, "dual": { "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "normalized": { "A": 1.75, "B": 1.714 }, "adjusted": { "A": 1.75, "B": 1.714 }, "violations": {}, "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" ] } }, "forward_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "B", "score": 1714, "verdict_ko": "지시된 클로즈업 구도와 플래시 조명 효과를 잘 구현했으며, 민수의 프로필이 캐릭터 레퍼런스와 더 일치하고 해부학적으로 자연스럽습니다." }, { "label": "A", "score": 1750, "verdict_ko": "구도와 노인의 자세 등 기본적인 요구사항은 충족했으나, 민수의 얼굴 생김새가 레퍼런스와 다소 차이가 있고 귀의 형태가 약간 부자연스럽습니다." } ], "all_candidates_fail": false }, "reverse_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "A", "score": 8, "verdict_ko": "민수의 엎드린 자세와 노인과의 밀착된 위치는 좋으나, 레퍼런스와 달리 작업복 소매가 길게 내려와 있고 배경의 가로등과 교차로 전경이 완전히 배제되지 않았습니다." }, { "label": "B", "score": 9, "verdict_ko": "민수의 걷어붙인 소매가 캐릭터 레퍼런스의 복장 디테일과 더 정확히 일치하며, 물리적으로 안정적인 자세와 지시된 밀착 구도를 잘 구현했습니다." } ], "readings": [ { "label": "A", "direction": "민수의 시선과 입이 노인의 귀와 뺨 부근을 정확히 향하고 있음.", "built_space": "야외 골목 사거리 바닥. 이전 컷의 젖은 바닥과 빛 반사 위치를 그대로 유지함.", "entities": "민수(남색 작업복, 40대 외모)와 노인(회색 코트, 감은 눈)의 특징이 잘 나타남. 단, 민수의 소매가 레퍼런스와 달리 손목까지 덮여 있음.", "hard_violations": [], "physics": "노인은 바닥에 몸을 의지해 누워 있으며, 민수는 화면 밖의 하체와 바닥에 짚은 오른손으로 상체를 지탱하고 있어 자세가 자연스러움." }, { "label": "B", "direction": "민수의 시선과 입이 노인의 귀와 뺨 부근을 정확히 향하고 있음.", "built_space": "야외 골목 사거리 바닥. 이전 컷의 젖은 바닥과 빛 반사 위치를 그대로 유지함.", "entities": "민수(남색 작업복, 40대 외모)와 노인(회색 코트, 감은 눈)의 특징이 잘 나타남. 민수의 소매가 레퍼런스처럼 걷혀 있어 일치도가 높음.", "hard_violations": [], "physics": "노인은 바닥에 완전히 밀착되어 누워 있으며, 민수는 바닥에 닿은 오른팔(맨살 노출)로 상체의 무게를 적절히 지탱하고 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": "B", "score": 8, "verdict_ko": "민수의 엎드린 자세와 노인과의 밀착된 위치는 좋으나, 레퍼런스와 달리 작업복 소매가 길게 내려와 있고 배경의 가로등과 교차로 전경이 완전히 배제되지 않았습니다." }, { "label": "A", "score": 9, "verdict_ko": "민수의 걷어붙인 소매가 캐릭터 레퍼런스의 복장 디테일과 더 정확히 일치하며, 물리적으로 안정적인 자세와 지시된 밀착 구도를 잘 구현했습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "민수의 시선과 입이 노인의 귀와 뺨 부근을 정확히 향하고 있음.", "built_space": "야외 골목 사거리 바닥. 이전 컷의 젖은 바닥과 빛 반사 위치를 그대로 유지함.", "entities": "민수(남색 작업복, 40대 외모)와 노인(회색 코트, 감은 눈)의 특징이 잘 나타남. 단, 민수의 소매가 레퍼런스와 달리 손목까지 덮여 있음.", "hard_violations": [], "physics": "노인은 바닥에 몸을 의지해 누워 있으며, 민수는 화면 밖의 하체와 바닥에 짚은 오른손으로 상체를 지탱하고 있어 자세가 자연스러움." }, { "label": "A", "direction": "민수의 시선과 입이 노인의 귀와 뺨 부근을 정확히 향하고 있음.", "built_space": "야외 골목 사거리 바닥. 이전 컷의 젖은 바닥과 빛 반사 위치를 그대로 유지함.", "entities": "민수(남색 작업복, 40대 외모)와 노인(회색 코트, 감은 눈)의 특징이 잘 나타남. 민수의 소매가 레퍼런스처럼 걷혀 있어 일치도가 높음.", "hard_violations": [], "physics": "노인은 바닥에 완전히 밀착되어 누워 있으며, 민수는 바닥에 닿은 오른팔(맨살 노출)로 상체의 무게를 적절히 지탱하고 있음." } ] }, "combined": { "totals": { "A": 1759, "B": 1722 }, "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": "06a8eaef-dec8-74f8-a6b7-aa7ff710f66a", "ref_mode": "prev+엔티티", "share_plan": { "ref_plan": "prev", "prev_anchor_tag": "S2sh3" }, "locked_char_refs_excluded": [ "노인(C03)" ] }, "S2sh6::cine": { "applied": true, "fingerprint": "cc4024bd364c8a3f7c31cc56548038a75fa00e73051f27364224bda1ca2f495a", "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": "0da565e0ae03927bbb67b4bd8fc6b6910124d1889f9a8c01699b20aa0c828a09", "file": "S2sh6_cine.png", "latency_ms": 75435, "pending": true, "request_id": "01a03a03-0696-7d10-a2a5-c8aaf95bfe05", "response_url": "https://queue.fal.run/reve/2.1/requests/01a03a03-0696-7d10-a2a5-c8aaf95bfe05", "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": "이 장소는 자전거 수리점 내부로, 차량 운전석이나 조종실과 같이 복잡한 제어 장치가 있는 공간이 아니며, 인물들의 위치나 방향성이 이야기 전개에 치명적인 영향을 미치는 상황도 아니므로 평면도 배치가 필수적이지 않습니다.", "input_fingerprint": "a22d958818abb48d" }, "S3sh1::signage": { "fp": "b2c0791edf7902bd", "inscriptions": [ { "surface_native": "벽면 안내판", "text_native": "자전거 수리", "reason_ko": "이 장소가 자전거 수리점 내부임을 직관적이고 사실적으로 나타내기 위해 벽면에 걸린 수리 안내판에 글자가 필요합니다." } ] }, "era_assess::febb01af104562c6": { "subjects": [ { "subject_native": "한국의 동네 자전거 수리점 내부", "search_terms_native": [ "자전거포 내부", "자전거 수리점", "동네 자전거 가게 내부", "자전거 정비소 내부" ], "language_lock_native": "영어 또는 다른 언어로 번역하지 말고 반드시 제공된 한국어 검색어 그대로 검색하십시오.", "reason_ko": "한국의 실제 동네 자전거포는 서구식 정비소나 현대식 대형 매장과 달리 좁은 공간에 밀집된 독특한 공구 배치, 한국식 작업대, 내부 집기류의 형태를 지니고 있어 고유의 생활 밀착형 분위기를 재현해야 합니다." } ], "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::f944d19b2169f6e3": { "subject": "한국의 동네 자전거 수리점 내부", "terms": [ "자전거포 내부", "자전거 수리점", "동네 자전거 가게 내부", "자전거 정비소 내부" ], "queries": [ [ "자전거포 내부 / 자전거 수리점 / 동네 자전거 가게 내부 / 자전거 정비소 내부", "한국의 동네 자전거 수리점 내부" ] ], "candidates": 4, "picked_index": 1, "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": "동네 자전거 수리점의 내부 비례, 재질, 조명, 출입구 등의 구조적 특징이 가려짐 없이 가장 명확하게 드러나 있어 훌륭한 형태 참고 자료입니다.", "verdicts": [ { "index": 1, "usable": true, "score": 85, "reason_ko": "내부 마감, 바닥, 천장 등 수리점 공간의 전체적인 구조와 형태를 가장 선명하게 보여줍니다." }, { "index": 2, "usable": true, "score": 80, "reason_ko": "전형적인 수리점의 모습이나 적재된 물건이 많아 공간의 뼈대와 마감을 온전히 파악하기는 다소 어렵습니다." }, { "index": 3, "usable": true, "score": 55, "reason_ko": "인물과 작업대에 초점이 맞춰져 있어 수리점 내부의 전반적인 구조를 참고하기에 부족합니다." }, { "index": 4, "usable": true, "score": 60, "reason_ko": "공간이 다소 어둡고 복잡하여 벽면이나 바닥 등 건축적 요소를 읽어내기 힘듭니다." } ], "candidate_urls": [ "https://img.kr.gcp-karroter.net/business-profile/bizPlatform/profile/3071688/1749035784435/VkQ5OHlYTnB6VDhwUU54ZFNEbUV1.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", "https://img1.daumcdn.net/thumb/R1280x0.fjpg/?fname=https%3A%2F%2Ft1.daumcdn.net%2Fbrunch%2Fservice%2Fuser%2FeI9v%2Fimage%2FTO4K0PdRJJFIfca3Zo4HVZLMstE.jpg", "https://onthegrid.city/imager/s3_amazonaws_com/onthegrid.city/assets/grid/seoul/sangsu/dooboogong/IMG_8052_299006722e285f47655d17d1c9136337.jpg" ], "sha256": "10d3bc4fb35bf5d8e8a1d1110704ceb9dde52dd5eec278780ba08314732fe90a", "file": "eraref_f944d19b2169f6e3.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": [ [ "자전거포 내부 / 자전거 수리점 / 동네 자전거 가게 내부 / 자전거 정비소 내부", "한국의 동네 자전거 수리점 내부" ] ], "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_f944d19b2169f6e3.png" } }, "S3sh1": { "input_fingerprint": "1f59ae7cb257f677", "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": 1833, "verdict_ko": "캐릭터의 복장과 외형이 레퍼런스와 일치하며, 지시된 프레이밍과 간판 텍스트를 정확하게 구현함." }, { "label": "B", "score": 1571, "verdict_ko": "민수의 복장(작업복 미착용) 및 노인의 외형(비니 누락)이 레퍼런스와 다르고, 필수 간판 텍스트가 누락됨." } ], "all_candidates_fail": false, "dual": { "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "normalized": { "A": 1.833, "B": 1.571 }, "adjusted": { "A": 1.833, "B": 1.571 }, "violations": {}, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "B" }, "agreed": false }, "gq": { "route": "combined", "gap": 0.167, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "forward_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 1833, "verdict_ko": "캐릭터의 복장과 외형이 레퍼런스와 일치하며, 지시된 프레이밍과 간판 텍스트를 정확하게 구현함." }, { "label": "B", "score": 1571, "verdict_ko": "민수의 복장(작업복 미착용) 및 노인의 외형(비니 누락)이 레퍼런스와 다르고, 필수 간판 텍스트가 누락됨." } ], "all_candidates_fail": false }, "reverse_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 7, "verdict_ko": "캐릭터 레퍼런스의 의상(민수의 작업복과 모자, 노인의 비니와 장갑)을 정확히 구현했으며 지정된 간판 텍스트도 성공적으로 묘사했습니다." }, { "label": "A", "score": 3, "verdict_ko": "민수와 노인의 의상이 캐릭터 레퍼런스와 완전히 다르며, 요청된 간판 텍스트가 누락되었습니다." } ], "readings": [ { "label": "A", "direction": "민수의 시선은 바닥에 누워있는 노인을 향하고 있습니다.", "built_space": "자전거 수리점 내부의 구조를 보여주며, 왼쪽에 작업대가 있고 천장에 형광등이 켜져 있습니다.", "entities": "민수와 노인 모두 참조 이미지에 지정된 의상(모자, 작업복, 비니 등)을 입지 않았습니다. 지정된 '자전거 수리' 간판이 보이지 않습니다.", "hard_violations": [], "physics": "민수는 바닥에 쭈그려 앉아 체중을 지탱하고 있으며, 노인은 바닥에 수평으로 누워 중력에 맞게 지지되고 있습니다." }, { "label": "B", "direction": "민수의 시선은 바닥에 누워있는 노인을 향하고 있습니다.", "built_space": "자전거 수리점 내부에 왼쪽에 밀려난 작업대가 있고, 천장의 형광등이 공간을 밝힙니다. 배경 입구 쪽에 '자전거수리'라는 텍스트가 보입니다.", "entities": "민수는 파란색 작업복과 모자를, 노인은 비니와 회색 재킷 및 장갑을 착용하여 레퍼런스와 정확히 일치합니다.", "hard_violations": [], "physics": "민수는 발을 바닥에 대고 안정적으로 쭈그려 앉아 있으며, 노인은 담요 아래 바닥에 누워 중력의 영향을 자연스럽게 받고 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": "캐릭터 레퍼런스의 의상(민수의 작업복과 모자, 노인의 비니와 장갑)을 정확히 구현했으며 지정된 간판 텍스트도 성공적으로 묘사했습니다." }, { "label": "B", "score": 3, "verdict_ko": "민수와 노인의 의상이 캐릭터 레퍼런스와 완전히 다르며, 요청된 간판 텍스트가 누락되었습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "민수의 시선은 바닥에 누워있는 노인을 향하고 있습니다.", "built_space": "자전거 수리점 내부의 구조를 보여주며, 왼쪽에 작업대가 있고 천장에 형광등이 켜져 있습니다.", "entities": "민수와 노인 모두 참조 이미지에 지정된 의상(모자, 작업복, 비니 등)을 입지 않았습니다. 지정된 '자전거 수리' 간판이 보이지 않습니다.", "hard_violations": [], "physics": "민수는 바닥에 쭈그려 앉아 체중을 지탱하고 있으며, 노인은 바닥에 수평으로 누워 중력에 맞게 지지되고 있습니다." }, { "label": "A", "direction": "민수의 시선은 바닥에 누워있는 노인을 향하고 있습니다.", "built_space": "자전거 수리점 내부에 왼쪽에 밀려난 작업대가 있고, 천장의 형광등이 공간을 밝힙니다. 배경 입구 쪽에 '자전거수리'라는 텍스트가 보입니다.", "entities": "민수는 파란색 작업복과 모자를, 노인은 비니와 회색 재킷 및 장갑을 착용하여 레퍼런스와 정확히 일치합니다.", "hard_violations": [], "physics": "민수는 발을 바닥에 대고 안정적으로 쭈그려 앉아 있으며, 노인은 담요 아래 바닥에 누워 중력의 영향을 자연스럽게 받고 있습니다." } ] }, "combined": { "totals": { "A": 1840, "B": 1574 }, "ranking": [ "A", "B" ], "agreement": true, "policy": 1 } }, "totals": { "A": 1840, "B": 1574 }, "selected": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 1833, "verdict_ko": "캐릭터의 복장과 외형이 레퍼런스와 일치하며, 지시된 프레이밍과 간판 텍스트를 정확하게 구현함." }, { "label": "B", "score": 1571, "verdict_ko": "민수의 복장(작업복 미착용) 및 노인의 외형(비니 누락)이 레퍼런스와 다르고, 필수 간판 텍스트가 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/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": "필수 유지해야 할 원본 배경의 중앙 안쪽 자전거 거치대가 완전히 사라졌으며, 원래 벽이었던 곳에 새로운 통로(출입구)가 임의로 생성됨.", "fix_en": "Cover the background street opening with a solid wall and wooden panels, and place a bike repair stand in front of it. Maintain the two men, their clothing, the workbench, and the lighting.", "severity": "critical", "observation_index": 0, "needs_ref_indices": [ 1 ], "adds_missing_entity": true, "missing_entity_name": "wall and bike repair stand", "needs_regeneration": true, "unfixable": false }, { "issue_ko": "화면 좌측 바깥 도로로 이어지던 원래의 출입구 구조가 막혀 사라지고, 작업대가 안쪽 벽까지 연장되어 배경의 기하학적 구조가 훼손됨.", "fix_en": "Remove the far end of the workbench and replace the wall section with an open doorway revealing a wet street. Maintain the two men, their clothing, the floor, and the lighting.", "severity": "critical", "observation_index": 1, "needs_ref_indices": [ 1 ], "adds_missing_entity": true, "missing_entity_name": "open doorway to street", "needs_regeneration": true, "unfixable": false }, { "issue_ko": "노인이 중경 가운데-오른쪽이 아니라 근경 오른쪽 아래에 크게 누워 있다.", "fix_en": "Scale down the old man and his blankets to make him appear further back in the midground. Maintain Min-soo, the workbench, and the room layout.", "severity": "major", "observation_index": 3, "needs_ref_indices": [ 2 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": true, "unfixable": false }, { "issue_ko": "스케치와 반대로 노인의 머리가 카메라 쪽을 향해 얼굴이 드러나 있다.", "fix_en": "Turn the old man's head to face away from the camera, hiding his face. Maintain his body, Min-soo, and the room layout.", "severity": "major", "observation_index": 4, "needs_ref_indices": [ 2 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": true, "unfixable": false }, { "issue_ko": "민수가 스케치의 뒷모습이 아니라 옆얼굴이 보이는 자세로 앉아 있다.", "fix_en": "Turn Min-soo's torso and head away from the camera so only his back is visible. Maintain the old man, the workbench, and the lighting.", "severity": "major", "observation_index": 5, "needs_ref_indices": [ 2 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": true, "unfixable": false }, { "issue_ko": "밀린 작업대가 상단 왼쪽 배경이 아니라 화면 왼쪽 전·중경을 크게 차지한다.", "fix_en": "Reduce the scale of the workbench to push it further into the upper-left background. Maintain the two men and the floor layout.", "severity": "major", "observation_index": 6, "needs_ref_indices": [ 2 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": true, "unfixable": false }, { "issue_ko": "천장 형광등이 하나가 아니라 두 개가 걸려 있다.", "fix_en": "Erase the second fluorescent light fixture from the ceiling, leaving only one fixture directly above. Maintain the two men, the workbench, and the background.", "severity": "major", "observation_index": 7, "needs_ref_indices": [ 1 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "배경 전경 바닥에 있던 튜브형 조명 기구가 없다.", "fix_en": "Place a glowing tube-shaped light fixture on the floor in the lower left corner. Maintain the two men, the workbench, and the room layout.", "severity": "major", "observation_index": 8, "needs_ref_indices": [ 1 ], "adds_missing_entity": true, "missing_entity_name": "tube-shaped light fixture", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "노인 아래에 장면에 없던 두꺼운 요와 베개가 깔려 있다.", "fix_en": "Remove the thick mattress and pillow beneath the old man, leaving him lying on the bare floor under his blanket. Maintain the old man, Min-soo, and the workbench.", "severity": "major", "observation_index": 9, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "벽면 안내판이 '자전거 수리'가 아니라 붙여 쓴 '자전거수리'이다.", "fix_en": "Blur the text on the blue wall sign to make the exact spacing illegible. Maintain the overall color of the sign, the men, and the background.", "severity": "minor", "observation_index": 10, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false } ], "observer_observations": [ { "issue_ko": "필수 유지해야 할 원본 배경의 중앙 안쪽 자전거 거치대가 완전히 사라졌으며, 원래 벽이었던 곳에 새로운 통로(출입구)가 임의로 생성됨.", "severity": "critical" }, { "issue_ko": "화면 좌측 바깥 도로로 이어지던 원래의 출입구 구조가 막혀 사라지고, 작업대가 안쪽 벽까지 연장되어 배경의 기하학적 구조가 훼손됨.", "severity": "critical" }, { "issue_ko": "배경과 달리 왼쪽 거리 입구가 없고 상점 먼쪽에 없던 도로 출입구가 열려 있다.", "severity": "major" }, { "issue_ko": "노인이 중경 가운데-오른쪽이 아니라 근경 오른쪽 아래에 크게 누워 있다.", "severity": "major" }, { "issue_ko": "스케치와 반대로 노인의 머리가 카메라 쪽을 향해 얼굴이 드러나 있다.", "severity": "major" }, { "issue_ko": "민수가 스케치의 뒷모습이 아니라 옆얼굴이 보이는 자세로 앉아 있다.", "severity": "major" }, { "issue_ko": "밀린 작업대가 상단 왼쪽 배경이 아니라 화면 왼쪽 전·중경을 크게 차지한다.", "severity": "major" }, { "issue_ko": "천장 형광등이 하나가 아니라 두 개가 걸려 있다.", "severity": "major" }, { "issue_ko": "배경 전경 바닥에 있던 튜브형 조명 기구가 없다.", "severity": "major" }, { "issue_ko": "노인 아래에 장면에 없던 두꺼운 요와 베개가 깔려 있다.", "severity": "major" }, { "issue_ko": "벽면 안내판이 '자전거 수리'가 아니라 붙여 쓴 '자전거수리'이다.", "severity": "minor" } ], "observer_models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "observer_counts": { "gemini-pro": 2, "openrouter:x-ai/grok-4.6": 9 } }, "fix_severity_skipped_count": 8, "fix_severity_skipped": [ { "issue_ko": "노인이 중경 가운데-오른쪽이 아니라 근경 오른쪽 아래에 크게 누워 있다.", "fix_en": "Scale down the old man and his blankets to make him appear further back in the midground. Maintain Min-soo, the workbench, and the room layout.", "severity": "major", "observation_index": 3, "needs_ref_indices": [ 2 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": true, "unfixable": false }, { "issue_ko": "스케치와 반대로 노인의 머리가 카메라 쪽을 향해 얼굴이 드러나 있다.", "fix_en": "Turn the old man's head to face away from the camera, hiding his face. Maintain his body, Min-soo, and the room layout.", "severity": "major", "observation_index": 4, "needs_ref_indices": [ 2 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": true, "unfixable": false }, { "issue_ko": "민수가 스케치의 뒷모습이 아니라 옆얼굴이 보이는 자세로 앉아 있다.", "fix_en": "Turn Min-soo's torso and head away from the camera so only his back is visible. Maintain the old man, the workbench, and the lighting.", "severity": "major", "observation_index": 5, "needs_ref_indices": [ 2 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": true, "unfixable": false }, { "issue_ko": "밀린 작업대가 상단 왼쪽 배경이 아니라 화면 왼쪽 전·중경을 크게 차지한다.", "fix_en": "Reduce the scale of the workbench to push it further into the upper-left background. Maintain the two men and the floor layout.", "severity": "major", "observation_index": 6, "needs_ref_indices": [ 2 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": true, "unfixable": false }, { "issue_ko": "천장 형광등이 하나가 아니라 두 개가 걸려 있다.", "fix_en": "Erase the second fluorescent light fixture from the ceiling, leaving only one fixture directly above. Maintain the two men, the workbench, and the background.", "severity": "major", "observation_index": 7, "needs_ref_indices": [ 1 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "배경 전경 바닥에 있던 튜브형 조명 기구가 없다.", "fix_en": "Place a glowing tube-shaped light fixture on the floor in the lower left corner. Maintain the two men, the workbench, and the room layout.", "severity": "major", "observation_index": 8, "needs_ref_indices": [ 1 ], "adds_missing_entity": true, "missing_entity_name": "tube-shaped light fixture", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "노인 아래에 장면에 없던 두꺼운 요와 베개가 깔려 있다.", "fix_en": "Remove the thick mattress and pillow beneath the old man, leaving him lying on the bare floor under his blanket. Maintain the old man, Min-soo, and the workbench.", "severity": "major", "observation_index": 9, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "벽면 안내판이 '자전거 수리'가 아니라 붙여 쓴 '자전거수리'이다.", "fix_en": "Blur the text on the blue wall sign to make the exact spacing illegible. Maintain the overall color of the sign, the men, and the background.", "severity": "minor", "observation_index": 10, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false } ], "fix_missing_entities": [ "wall and bike repair stand", "open doorway to street" ], "repair_mode": "edit", "fix_ref_gate": { "mode": "gated", "available": 4, "kept": 1, "requested_indices": [ 1 ], "kept_labels": [ "SHOT BACKGROUND" ] }, "fix_ref_count": 2, "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Cover the background street opening with a solid wall and wooden panels, and place a bike repair stand in front of it. Maintain the two men, their clothing, the workbench, and the lighting.\n- Remove the far end of the workbench and replace the wall section with an open doorway revealing a wet street. Maintain the two men, their clothing, the floor, and the lighting.\n\nADD WHAT IS MISSING:\n- wall and bike repair stand\n- open doorway to street\nThese are not in the photograph at all — put them in exactly as the\ncorrections describe, matching the attached reference where one is\ngiven. Everything already in the photograph stays untouched.\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": 7, "verdict_ko": "지정된 간판 텍스트는 누락되었으나, 절대 유지해야 할 배경의 기하학적 구조와 인물의 신원을 완벽히 보존하여 더 나은 결과물입니다." }, { "label": "A", "score": 3, "verdict_ko": "요청된 텍스트 간판을 추가하는 과정에서 원본 배경의 필수 구조(자전거 거치대 및 뒷벽)를 심각하게 훼손하여 치명적인 감점 요인이 되었습니다." } ], "readings": [ { "label": "B", "direction": "민수의 시선이 바닥에 누운 노인을 향해 정확히 떨어집니다.", "built_space": "원본 배경의 모든 구조(우측 후경의 자전거 거치대, 후면 나무 벽, 선반의 물품들)가 지시대로 완벽히 유지되었습니다.", "entities": "민수와 노인의 외형 및 복장이 레퍼런스와 일치하며 샷 텍스트에 없는 인물은 올바르게 제외되었습니다. '자전거 수리' 간판은 보이지 않습니다.", "hard_violations": [], "physics": "민수는 바닥에 쪼그려 앉아 있고, 노인은 바닥에 누워 중력에 맞게 자연스럽게 지지되어 있습니다." }, { "label": "A", "direction": "민수의 시선이 바닥에 누운 노인을 향합니다.", "built_space": "원본 배경에 존재하던 후경의 자전거 거치대와 나무 벽이 임의로 삭제되고 개방된 복도로 대체되어 공간 구조가 크게 훼손되었습니다.", "entities": "두 인물의 외형은 레퍼런스와 일치하며, 샷 텍스트에 지시된 '자전거 수리' 간판이 후경에 렌더링되었습니다.", "hard_violations": [ "지정된 배경 구조 임의 삭제 및 변형 (자전거 거치대 및 후면 벽면 구조 누락)" ], "physics": "두 인물 모두 바닥에 안정적으로 위치해 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" ] } }, "forward_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 7, "verdict_ko": "지정된 간판 텍스트는 누락되었으나, 절대 유지해야 할 배경의 기하학적 구조와 인물의 신원을 완벽히 보존하여 더 나은 결과물입니다." }, { "label": "A", "score": 3, "verdict_ko": "요청된 텍스트 간판을 추가하는 과정에서 원본 배경의 필수 구조(자전거 거치대 및 뒷벽)를 심각하게 훼손하여 치명적인 감점 요인이 되었습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "민수의 시선이 바닥에 누운 노인을 향해 정확히 떨어집니다.", "built_space": "원본 배경의 모든 구조(우측 후경의 자전거 거치대, 후면 나무 벽, 선반의 물품들)가 지시대로 완벽히 유지되었습니다.", "entities": "민수와 노인의 외형 및 복장이 레퍼런스와 일치하며 샷 텍스트에 없는 인물은 올바르게 제외되었습니다. '자전거 수리' 간판은 보이지 않습니다.", "hard_violations": [], "physics": "민수는 바닥에 쪼그려 앉아 있고, 노인은 바닥에 누워 중력에 맞게 자연스럽게 지지되어 있습니다." }, { "label": "A", "direction": "민수의 시선이 바닥에 누운 노인을 향합니다.", "built_space": "원본 배경에 존재하던 후경의 자전거 거치대와 나무 벽이 임의로 삭제되고 개방된 복도로 대체되어 공간 구조가 크게 훼손되었습니다.", "entities": "두 인물의 외형은 레퍼런스와 일치하며, 샷 텍스트에 지시된 '자전거 수리' 간판이 후경에 렌더링되었습니다.", "hard_violations": [ "지정된 배경 구조 임의 삭제 및 변형 (자전거 거치대 및 후면 벽면 구조 누락)" ], "physics": "두 인물 모두 바닥에 안정적으로 위치해 있습니다." } ] }, "reverse_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 1050, "verdict_ko": "지시된 '자전거 수리' 안내판 텍스트를 명확히 추가하여 텍스트 조건을 충족했으나, 그 과정에서 배경 중앙의 자전거 거치대가 소실된 점이 아쉬운 결과물. ★위반: [openrouter:x-ai/grok-4.6] 잠긴 배경 사진의 카메라·원근·왼쪽 도로 개구부를 유지하지 않음 / [openrouter:x-ai/grok-4.6] 원본 자전거 정비 스탠드(고정 기구) 삭제 / [openrouter:x-ai/grok-4.6] 상점 후면을 거리로 뚫는 개구부 발명" }, { "label": "A", "score": 964, "verdict_ko": "인물들의 외형과 자세는 잘 구현되었으나 필수 지시사항인 간판 텍스트가 완전히 누락되었고, 배경 안쪽 벽면 구조가 원본과 다르게 막힌 벽으로 변형됨. ★위반: [openrouter:x-ai/grok-4.6] 잠긴 배경 사진의 카메라·원근·왼쪽 도로 개구부를 유지하지 않음 / [openrouter:x-ai/grok-4.6] 원본에 없는 후면 미닫이문 등 구조 발명 / [openrouter:x-ai/grok-4.6] 바닥 형광등 제거" } ], "all_candidates_fail": false, "dual": { "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "normalized": { "A": 1.714, "B": 1.8 }, "adjusted": { "A": 0.964, "B": 1.05 }, "violations": { "A": [ "[openrouter:x-ai/grok-4.6] 잠긴 배경 사진의 카메라·원근·왼쪽 도로 개구부를 유지하지 않음", "[openrouter:x-ai/grok-4.6] 원본에 없는 후면 미닫이문 등 구조 발명", "[openrouter:x-ai/grok-4.6] 바닥 형광등 제거" ], "B": [ "[openrouter:x-ai/grok-4.6] 잠긴 배경 사진의 카메라·원근·왼쪽 도로 개구부를 유지하지 않음", "[openrouter:x-ai/grok-4.6] 원본 자전거 정비 스탠드(고정 기구) 삭제", "[openrouter:x-ai/grok-4.6] 상점 후면을 거리로 뚫는 개구부 발명" ] }, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "A" }, "agreed": false }, "gq": { "route": "combined", "gap": 0.2, "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": "A", "score": 1050, "verdict_ko": "지시된 '자전거 수리' 안내판 텍스트를 명확히 추가하여 텍스트 조건을 충족했으나, 그 과정에서 배경 중앙의 자전거 거치대가 소실된 점이 아쉬운 결과물. ★위반: [openrouter:x-ai/grok-4.6] 잠긴 배경 사진의 카메라·원근·왼쪽 도로 개구부를 유지하지 않음 / [openrouter:x-ai/grok-4.6] 원본 자전거 정비 스탠드(고정 기구) 삭제 / [openrouter:x-ai/grok-4.6] 상점 후면을 거리로 뚫는 개구부 발명" }, { "label": "B", "score": 964, "verdict_ko": "인물들의 외형과 자세는 잘 구현되었으나 필수 지시사항인 간판 텍스트가 완전히 누락되었고, 배경 안쪽 벽면 구조가 원본과 다르게 막힌 벽으로 변형됨. ★위반: [openrouter:x-ai/grok-4.6] 잠긴 배경 사진의 카메라·원근·왼쪽 도로 개구부를 유지하지 않음 / [openrouter:x-ai/grok-4.6] 원본에 없는 후면 미닫이문 등 구조 발명 / [openrouter:x-ai/grok-4.6] 바닥 형광등 제거" } ], "all_candidates_fail": false }, "combined": { "totals": { "A": 1053, "B": 971 }, "ranking": [ "A", "B" ], "agreement": false, "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": "06a8eaef-df22-7163-b562-0d337eccf5ef", "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, "fingerprint": "1a3abc2e90ae6e1e8d91853833d4e299374d91249205e12e6b7bd5a510504390", "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": "d434318be5795447b30415da75cf4f202e102cd94b20f9e51b0c296fafaee6df", "file": "S3sh1_cine.png", "latency_ms": 90963, "pending": true, "request_id": "01a03a18-672b-7701-8297-d393b18ca27f", "response_url": "https://queue.fal.run/reve/2.1/requests/01a03a18-672b-7701-8297-d393b18ca27f", "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 숏은 조종실이나 차량 내부처럼 좌석 배치나 통제 장치 위치가 중요한 공간이 아니며, 단순히 자전거 수리점 문가에서 밖을 바라보는 장면이므로 평면도 기반의 배치 도움이 필수적이지 않습니다.", "input_fingerprint": "494b2ca0ed0d4cc8" }, "S3sh2::signage": { "fp": "8bf0f347032f849f", "inscriptions": [ { "surface_native": "유리문", "text_native": "자전거 수리", "reason_ko": "문가에 선 주인공 뒤로 보이는 유리문에 자전거 수리점임을 알리는 글씨를 표시하여 공간의 정체성을 명확히 드러냅니다." } ] }, "era_assess::ca36156e0877f856": { "subjects": [ { "subject_native": "한국의 오래된 동네 자전거포 내부와 문 앞 풍경", "search_terms_native": [ "동네 자전거포", "자전거 수리점 내부", "골목길 자전거포", "오래된 자전거 수리점" ], "language_lock_native": "다른 언어를 사용하지 말고 오직 한국어 검색어만을 사용하여 검색하십시오.", "reason_ko": "한국의 정겨운 동네 자전거포(자전거포) 내부의 공구 배치, 낡은 문틀, 특유의 자전거 부품 진열 방식 및 한국 골목길의 느낌은 일반적인 서구식 자전거 매장과 확연히 다른 고유의 시각적 특징을 지닙니다." } ], "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::de14bf320816c267": { "subject": "한국의 오래된 동네 자전거포 내부와 문 앞 풍경", "terms": [ "동네 자전거포", "자전거 수리점 내부", "골목길 자전거포", "오래된 자전거 수리점" ], "queries": [ [ "한국 오래된 동네 자전거포 내부 자전거 수리점", "한국 골목길 오래된 자전거포 문 앞 풍경" ] ], "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": "동네 자전거포 특유의 내부 구조와 물품들이 빼곡하게 배치된 일상적인 풍경을 가장 폭넓고 선명하게 보여주고 있어 기준 사진으로 가장 적절합니다.", "verdicts": [ { "index": 1, "usable": true, "score": 88, "reason_ko": "자전거포 내부의 구조와 자전거, 도구들의 배치가 명확히 드러나 참고하기에 적합합니다." }, { "index": 2, "usable": true, "score": 75, "reason_ko": "자전거포 내부이긴 하나 특정 작업 공간에 시선이 집중되어 전체적인 구조 파악은 다소 아쉽습니다." }, { "index": 3, "usable": false, "score": 0, "reason_ko": "일반 한옥 앞에 자전거가 주차되어 있을 뿐 요구되는 자전거포 건물이 아닙니다." }, { "index": 4, "usable": false, "score": 0, "reason_ko": "건물 외벽에 자전거 벽화가 그려져 있을 뿐 실제 자전거포가 아닙니다." } ], "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://mblogthumb-phinf.pstatic.net/MjAyMzA4MjJfMjM4/MDAxNjkyNjcyNTYwNDc1.3oq-0upFwvpjlIn1q9C9kL5KgHlZrHVXqI0D_rVhVrEg.LQ7Q1iOTqDlpyeVa0YH8biFiDPmuJly4ewjKcjfPMcwg.JPEG.guide_p/20230820%EF%BC%BF112734.jpg?type=w800", "https://img1.daumcdn.net/thumb/R1280x0.fwebp/?fname=https%3A%2F%2Ft1.daumcdn.net%2Fbrunch%2Fservice%2Fuser%2F3bHj%2Fimage%2FnMvDYpgsKDAqbg_Uqaxp4IZDZD4" ], "sha256": "d005bec27adf680f505d8f04587a05c267bd8f6b734070a615358116a9257dcf", "file": "eraref_de14bf320816c267.png" }, "S3sh2::bgfirst_bg": { "input_fingerprint": "c56e9d500ba511c0", "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 — 한국의 오래된 동네 자전거포 내부와 문 앞 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 — 한국의 오래된 동네 자전거포 내부와 문 앞 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": "한국의 오래된 동네 자전거포 내부와 문 앞 풍경", "queries": [ [ "한국 오래된 동네 자전거포 내부 자전거 수리점", "한국 골목길 오래된 자전거포 문 앞 풍경" ] ], "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_de14bf320816c267.png" } }, "S3sh2": { "input_fingerprint": "62eaccef3d1763e9", "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- 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): 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- 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/S3sh2__bgfirst_bg.png", "asset_id": "bb5acd9d-b8a1-4f74-96d9-46e7dce41189", "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": 2, "judge_flip": { "forward_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "B", "score": 1000, "verdict_ko": "유리문의 '자전거수리' 텍스트는 구현했으나, 지시된 시선 방향(골목)과 카메라 구도(내부에서 외부 조망)를 완전히 위반하여 정비소 내부를 바라보고 있음. ★위반: [gemini-pro] 카메라 위치 위반: 내부에서 바깥 골목을 바라보는 지정된 시점을 무시하고, 외부에서 정비소 내부를 배경으로 렌더링함. / [openrouter:x-ai/grok-4.6] 지시된 실내 문가에서 밖을 보는 시점과 반대로 골목 바깥에서 정비소 안을 촬영함" }, { "label": "A", "score": 1500, "verdict_ko": "지시된 텍스트가 누락되었으며, 카메라 구도와 인물의 시선이 요구사항과 정반대로 연출되어 골목을 등지고 정비소 내부를 향하고 있음. ★위반: [gemini-pro] 카메라 위치 위반: 내부에서 바깥 골목을 바라보는 지정된 시점을 무시하고, 외부에서 정비소 내부를 배경으로 렌더링함." } ], "all_candidates_fail": true, "dual": { "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "normalized": { "A": 1.75, "B": 1.5 }, "adjusted": { "A": 1.5, "B": 1.0 }, "violations": { "B": [ "[gemini-pro] 카메라 위치 위반: 내부에서 바깥 골목을 바라보는 지정된 시점을 무시하고, 외부에서 정비소 내부를 배경으로 렌더링함.", "[openrouter:x-ai/grok-4.6] 지시된 실내 문가에서 밖을 보는 시점과 반대로 골목 바깥에서 정비소 안을 촬영함" ], "A": [ "[gemini-pro] 카메라 위치 위반: 내부에서 바깥 골목을 바라보는 지정된 시점을 무시하고, 외부에서 정비소 내부를 배경으로 렌더링함." ] }, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "A" }, "agreed": false }, "gq": { "route": "combined", "gap": 0.5, "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": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "B", "score": 1000, "verdict_ko": "유리문의 '자전거수리' 텍스트는 구현했으나, 지시된 시선 방향(골목)과 카메라 구도(내부에서 외부 조망)를 완전히 위반하여 정비소 내부를 바라보고 있음. ★위반: [gemini-pro] 카메라 위치 위반: 내부에서 바깥 골목을 바라보는 지정된 시점을 무시하고, 외부에서 정비소 내부를 배경으로 렌더링함. / [openrouter:x-ai/grok-4.6] 지시된 실내 문가에서 밖을 보는 시점과 반대로 골목 바깥에서 정비소 안을 촬영함" }, { "label": "A", "score": 1500, "verdict_ko": "지시된 텍스트가 누락되었으며, 카메라 구도와 인물의 시선이 요구사항과 정반대로 연출되어 골목을 등지고 정비소 내부를 향하고 있음. ★위반: [gemini-pro] 카메라 위치 위반: 내부에서 바깥 골목을 바라보는 지정된 시점을 무시하고, 외부에서 정비소 내부를 배경으로 렌더링함." } ], "all_candidates_fail": true }, "reverse_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "A", "score": 1036, "verdict_ko": "골목을 향한 시선과 공간적 배경을 잘 구현했으며, 지정된 텍스트와 소품 지시를 훌륭하게 따랐습니다. ★위반: [openrouter:x-ai/grok-4.6] 문 안쪽에서 열린 문 너머 골목을 보도록 고정한 카메라 위치를 뒤집어 바깥에서 실내를 들여다보는 시점으로 찍었다" }, { "label": "B", "score": 1321, "verdict_ko": "지시된 바와 달리 캐릭터가 밖이 아닌 정비소 내부를 바라보고 있어 핵심 연출과 카메라 뷰를 크게 위반했습니다. ★위반: [gemini-pro] 카메라가 밖이 아닌 내부를 비추고 있으며, 캐릭터 역시 골목이 아닌 정비소 안을 바라보아 명시된 연출 방향을 완전히 위반함." } ], "all_candidates_fail": false, "dual": { "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "normalized": { "A": 1.286, "B": 1.571 }, "adjusted": { "A": 1.036, "B": 1.321 }, "violations": { "B": [ "[gemini-pro] 카메라가 밖이 아닌 내부를 비추고 있으며, 캐릭터 역시 골목이 아닌 정비소 안을 바라보아 명시된 연출 방향을 완전히 위반함." ], "A": [ "[openrouter:x-ai/grok-4.6] 문 안쪽에서 열린 문 너머 골목을 보도록 고정한 카메라 위치를 뒤집어 바깥에서 실내를 들여다보는 시점으로 찍었다" ] }, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "B" }, "agreed": false }, "gq": { "route": "combined", "gap": 0.714, "per_model_winner": { "gemini-pro": "A", "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": "B", "score": 1036, "verdict_ko": "골목을 향한 시선과 공간적 배경을 잘 구현했으며, 지정된 텍스트와 소품 지시를 훌륭하게 따랐습니다. ★위반: [openrouter:x-ai/grok-4.6] 문 안쪽에서 열린 문 너머 골목을 보도록 고정한 카메라 위치를 뒤집어 바깥에서 실내를 들여다보는 시점으로 찍었다" }, { "label": "A", "score": 1321, "verdict_ko": "지시된 바와 달리 캐릭터가 밖이 아닌 정비소 내부를 바라보고 있어 핵심 연출과 카메라 뷰를 크게 위반했습니다. ★위반: [gemini-pro] 카메라가 밖이 아닌 내부를 비추고 있으며, 캐릭터 역시 골목이 아닌 정비소 안을 바라보아 명시된 연출 방향을 완전히 위반함." } ], "all_candidates_fail": false }, "combined": { "totals": { "A": 2821, "B": 2036 }, "ranking": [ "A", "B" ], "agreement": true, "policy": 1 } }, "totals": { "A": 2821, "B": 2036 }, "selected": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "B", "score": 1000, "verdict_ko": "유리문의 '자전거수리' 텍스트는 구현했으나, 지시된 시선 방향(골목)과 카메라 구도(내부에서 외부 조망)를 완전히 위반하여 정비소 내부를 바라보고 있음. ★위반: [gemini-pro] 카메라 위치 위반: 내부에서 바깥 골목을 바라보는 지정된 시점을 무시하고, 외부에서 정비소 내부를 배경으로 렌더링함. / [openrouter:x-ai/grok-4.6] 지시된 실내 문가에서 밖을 보는 시점과 반대로 골목 바깥에서 정비소 안을 촬영함" }, { "label": "A", "score": 1500, "verdict_ko": "지시된 텍스트가 누락되었으며, 카메라 구도와 인물의 시선이 요구사항과 정반대로 연출되어 골목을 등지고 정비소 내부를 향하고 있음. ★위반: [gemini-pro] 카메라 위치 위반: 내부에서 바깥 골목을 바라보는 지정된 시점을 무시하고, 외부에서 정비소 내부를 배경으로 렌더링함." } ], "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": "배경 원본 사진(SHOT BACKGROUND) 우선 규칙을 위반하여, 원본에 없던 다수의 렌치 공구들이 레이아웃 스케치를 따라 출입구 안쪽 벽면에 임의로 추가되었습니다.", "fix_en": "Remove the wrenches from the pale green wall section to the right of the door frame, leaving the wall bare; preserve Yeonhee in her yellow raincoat, the open door, and the workbench.", "severity": "critical", "observation_index": 0, "needs_ref_indices": [ 1 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "배경 원본 사진에서 열린 문 밖 건너편 건물에 있던 노란색 간판('와돈옥돌')이 사라지고 어두운 외벽으로 완전히 변경되었습니다.", "fix_en": "Restore the yellow illuminated sign above the storefront in the dark background alley; preserve Yeonhee, the wet street, and the workshop interior.", "severity": "critical", "observation_index": 1, "needs_ref_indices": [ 1 ], "adds_missing_entity": true, "missing_entity_name": "yellow illuminated sign", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "배경 원본 사진에 존재하지 않던 밝게 빛나는 길쭉한 형광등 조명 기구가 작업실 출입구 안쪽 상단에 임의로 추가되었습니다.", "fix_en": "Remove the fluorescent light tube from the top right above the workshop wall, restoring the shadows; preserve Yeonhee, the pale green wall, and the workbench.", "severity": "critical", "observation_index": 2, "needs_ref_indices": [ 1 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false }, { "issue_ko": "연희가 문 밖 골목이 아니라 프레임 오른쪽 정비소 내부를 바라보고 있다", "fix_en": "Turn Yeonhee's head left so she looks out the open doorway toward the dark alley; preserve her yellow raincoat, flashlight, the doorway, and the background.", "severity": "critical", "observation_index": 3, "needs_ref_indices": [ 3 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": true, "unfixable": false }, { "issue_ko": "골목이 중오른쪽이 아니라 왼쪽에 있고 중오른쪽은 작업실이 차지한다", "fix_en": "Cannot move the alley to the right in-place as it contradicts the locked background photograph geometry.", "severity": "major", "observation_index": 4, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": true }, { "issue_ko": "클로즈업이 아니라 상반신과 넓은 실내가 보이는 미디엄 샷이다", "fix_en": "Crop the frame closer around Yeonhee to simulate a close-up; preserve her pose, raincoat, and the surrounding background.", "severity": "major", "observation_index": 5, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": true, "unfixable": false }, { "issue_ko": "연희의 머리카락이 참조보다 길고 웨이브가 있다", "fix_en": "Make Yeonhee's hair straighter and slightly shorter; preserve her face, yellow raincoat, pose, and the background.", "severity": "minor", "observation_index": 8, "needs_ref_indices": [ 3 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false } ], "observer_observations": [ { "issue_ko": "배경 원본 사진(SHOT BACKGROUND) 우선 규칙을 위반하여, 원본에 없던 다수의 렌치 공구들이 레이아웃 스케치를 따라 출입구 안쪽 벽면에 임의로 추가되었습니다.", "severity": "critical" }, { "issue_ko": "배경 원본 사진에서 열린 문 밖 건너편 건물에 있던 노란색 간판('와돈옥돌')이 사라지고 어두운 외벽으로 완전히 변경되었습니다.", "severity": "critical" }, { "issue_ko": "배경 원본 사진에 존재하지 않던 밝게 빛나는 길쭉한 형광등 조명 기구가 작업실 출입구 안쪽 상단에 임의로 추가되었습니다.", "severity": "critical" }, { "issue_ko": "연희가 문 밖 골목이 아니라 프레임 오른쪽 정비소 내부를 바라보고 있다", "severity": "critical" }, { "issue_ko": "골목이 중오른쪽이 아니라 왼쪽에 있고 중오른쪽은 작업실이 차지한다", "severity": "major" }, { "issue_ko": "클로즈업이 아니라 상반신과 넓은 실내가 보이는 미디엄 샷이다", "severity": "major" }, { "issue_ko": "배경 참조에 없던 형광등 기구가 기둥 위쪽에 추가되어 있다", "severity": "major" }, { "issue_ko": "배경 참조 기둥·벽에 없던 렌치 등 공구가 추가로 걸려 있다", "severity": "major" }, { "issue_ko": "연희의 머리카락이 참조보다 길고 웨이브가 있다", "severity": "minor" } ], "observer_models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "observer_counts": { "gemini-pro": 3, "openrouter:x-ai/grok-4.6": 6 } }, "fix_severity_skipped_count": 2, "fix_severity_skipped": [ { "issue_ko": "클로즈업이 아니라 상반신과 넓은 실내가 보이는 미디엄 샷이다", "fix_en": "Crop the frame closer around Yeonhee to simulate a close-up; preserve her pose, raincoat, and the surrounding background.", "severity": "major", "observation_index": 5, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": true, "unfixable": false }, { "issue_ko": "연희의 머리카락이 참조보다 길고 웨이브가 있다", "fix_en": "Make Yeonhee's hair straighter and slightly shorter; preserve her face, yellow raincoat, pose, and the background.", "severity": "minor", "observation_index": 8, "needs_ref_indices": [ 3 ], "adds_missing_entity": false, "missing_entity_name": "", "needs_regeneration": false, "unfixable": false } ], "fix_missing_entities": [ "yellow illuminated sign" ], "repair_mode": "edit", "fix_ref_gate": { "mode": "gated", "available": 3, "kept": 2, "requested_indices": [ 1, 3 ], "kept_labels": [ "SHOT BACKGROUND", "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build 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- Remove the wrenches from the pale green wall section to the right of the door frame, leaving the wall bare; preserve Yeonhee in her yellow raincoat, the open door, and the workbench.\n- Restore the yellow illuminated sign above the storefront in the dark background alley; preserve Yeonhee, the wet street, and the workshop interior.\n- Remove the fluorescent light tube from the top right above the workshop wall, restoring the shadows; preserve Yeonhee, the pale green wall, and the workbench.\n- Turn Yeonhee's head left so she looks out the open doorway toward the dark alley; preserve her yellow raincoat, flashlight, the doorway, and the background.\n\nADD WHAT IS MISSING:\n- yellow illuminated sign\nThese are not in the photograph at all — put them in exactly as the\ncorrections describe, matching the attached reference where one is\ngiven. Everything already in the photograph stays untouched.\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": "지정된 클로즈업 프레이밍을 정확히 구현하고 원본 배경을 훼손 없이 완벽히 유지했으며, 스케치의 시선 및 손전등 방향을 충실히 따름." }, { "label": "B", "score": 3, "verdict_ko": "클로즈업 지시를 무시하고 인물을 작게 배치했으며, 절대 변경할 수 없는 배경 외부 간판의 조명을 임의로 켜서 위치 구속조건을 위반함." } ], "readings": [ { "label": "A", "direction": "연희의 시선은 텍스트(어두운 골목)와 달리 스케치의 화살표를 따라 우측 정비소 내부를 향하며, 손전등은 좌측을 향함.", "built_space": "원본 배경의 문틀, 작업대, 공구 배치 및 어두운 거리 조명이 변형 없이 그대로 정확하게 유지됨.", "entities": "연희의 얼굴과 노란 우비가 참고 이미지와 정확히 일치하며 손전등 소품이 지시대로 확인됨.", "hard_violations": [], "physics": "바닥에 단단히 서서 손전등을 쥔 손과 몸의 자세가 안정적이고 물리적 오류가 없음." }, { "label": "B", "direction": "연희의 시선과 손전등의 방향이 모두 우측 정비소 내부를 향함.", "built_space": "원본 배경에서 어두웠던 바깥쪽 거리 간판에 밝은 조명이 임의로 추가되어 원본 배경의 상태가 훼손됨.", "entities": "인물의 복장은 일치하나 지정된 클로즈업이 아닌 전신에 가까운 미디엄 샷으로 지나치게 작게 렌더링됨.", "hard_violations": [], "physics": "두 발로 바닥을 딛고 서서 손전등을 든 자세에 물리적인 지지 오류는 발견되지 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" ] } }, "forward_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 7, "verdict_ko": "지정된 클로즈업 프레이밍을 정확히 구현하고 원본 배경을 훼손 없이 완벽히 유지했으며, 스케치의 시선 및 손전등 방향을 충실히 따름." }, { "label": "B", "score": 3, "verdict_ko": "클로즈업 지시를 무시하고 인물을 작게 배치했으며, 절대 변경할 수 없는 배경 외부 간판의 조명을 임의로 켜서 위치 구속조건을 위반함." } ], "all_candidates_fail": false, "readings": [ { "label": "A", "direction": "연희의 시선은 텍스트(어두운 골목)와 달리 스케치의 화살표를 따라 우측 정비소 내부를 향하며, 손전등은 좌측을 향함.", "built_space": "원본 배경의 문틀, 작업대, 공구 배치 및 어두운 거리 조명이 변형 없이 그대로 정확하게 유지됨.", "entities": "연희의 얼굴과 노란 우비가 참고 이미지와 정확히 일치하며 손전등 소품이 지시대로 확인됨.", "hard_violations": [], "physics": "바닥에 단단히 서서 손전등을 쥔 손과 몸의 자세가 안정적이고 물리적 오류가 없음." }, { "label": "B", "direction": "연희의 시선과 손전등의 방향이 모두 우측 정비소 내부를 향함.", "built_space": "원본 배경에서 어두웠던 바깥쪽 거리 간판에 밝은 조명이 임의로 추가되어 원본 배경의 상태가 훼손됨.", "entities": "인물의 복장은 일치하나 지정된 클로즈업이 아닌 전신에 가까운 미디엄 샷으로 지나치게 작게 렌더링됨.", "hard_violations": [], "physics": "두 발로 바닥을 딛고 서서 손전등을 든 자세에 물리적인 지지 오류는 발견되지 않음." } ] }, "reverse_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 8, "verdict_ko": "배경 원본의 구조와 창밖 풍경을 훼손하지 않고 스케치된 위치에 인물을 정확히 배치하여 프롬프트 지시를 훌륭히 이행함." }, { "label": "B", "score": 4, "verdict_ko": "배경 우선 규칙을 어기고 기둥에 공구와 조명을 임의로 추가했으며, 창밖 거리의 간판을 지우는 등 위치 고정 조건을 심각하게 위반함." } ], "readings": [ { "label": "A", "direction": "연희가 스케치의 화살표 방향을 따라 화면 오른쪽 정비소 내부를 바라보고 있으며, 들고 있는 손전등 역시 오른쪽을 향함.", "built_space": "배경 사진에 있는 바깥 거리의 노란 간판, 아무것도 걸려있지 않은 기둥, 공구함 등의 구조와 위치를 원본 그대로 정확히 유지함.", "entities": "지정된 20대 여성 연희의 얼굴 특징과 노란색 우비가 캐릭터 레퍼런스와 잘 일치함.", "hard_violations": [], "physics": "바닥에 서서 한 손으로 손전등의 스위치를 조작하는 자세가 자연스럽게 구현됨." }, { "label": "B", "direction": "연희가 화면 오른쪽 정비소 내부를 향해 시선을 고정하고 있으며, 손전등 방향도 일치함.", "built_space": "원본 배경에 없던 벽면 공구와 조명이 기둥에 추가되었고, 창밖의 상가 간판과 푸른색 입간판이 사라져 원본 공간이 크게 훼손됨.", "entities": "노란 우비를 입고 손전등을 든 연희의 모습은 묘사되었으나, 인물 얼굴의 재현도가 A에 비해 다소 떨어짐.", "hard_violations": [ "위치 고정 위반: 원본 배경 사진에 없는 조명과 공구를 기둥에 추가하고 외부 거리 풍경을 임의로 변경함" ], "physics": "안정적으로 선 자세로 손전등을 쥐고 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": 8, "verdict_ko": "배경 원본의 구조와 창밖 풍경을 훼손하지 않고 스케치된 위치에 인물을 정확히 배치하여 프롬프트 지시를 훌륭히 이행함." }, { "label": "A", "score": 4, "verdict_ko": "배경 우선 규칙을 어기고 기둥에 공구와 조명을 임의로 추가했으며, 창밖 거리의 간판을 지우는 등 위치 고정 조건을 심각하게 위반함." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "연희가 스케치의 화살표 방향을 따라 화면 오른쪽 정비소 내부를 바라보고 있으며, 들고 있는 손전등 역시 오른쪽을 향함.", "built_space": "배경 사진에 있는 바깥 거리의 노란 간판, 아무것도 걸려있지 않은 기둥, 공구함 등의 구조와 위치를 원본 그대로 정확히 유지함.", "entities": "지정된 20대 여성 연희의 얼굴 특징과 노란색 우비가 캐릭터 레퍼런스와 잘 일치함.", "hard_violations": [], "physics": "바닥에 서서 한 손으로 손전등의 스위치를 조작하는 자세가 자연스럽게 구현됨." }, { "label": "A", "direction": "연희가 화면 오른쪽 정비소 내부를 향해 시선을 고정하고 있으며, 손전등 방향도 일치함.", "built_space": "원본 배경에 없던 벽면 공구와 조명이 기둥에 추가되었고, 창밖의 상가 간판과 푸른색 입간판이 사라져 원본 공간이 크게 훼손됨.", "entities": "노란 우비를 입고 손전등을 든 연희의 모습은 묘사되었으나, 인물 얼굴의 재현도가 A에 비해 다소 떨어짐.", "hard_violations": [ "위치 고정 위반: 원본 배경 사진에 없는 조명과 공구를 기둥에 추가하고 외부 거리 풍경을 임의로 변경함" ], "physics": "안정적으로 선 자세로 손전등을 쥐고 있음." } ] }, "combined": { "totals": { "A": 11, "B": 11 }, "ranking": [ "A", "B" ], "agreement": false, "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": "06a8eaef-dfc3-73f8-b338-b0a8fa15d9b2", "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": "S3sh2::bgfirst_bg", "chain_winner": true, "authority": "plate" }, "ref_mode": "재투영 배경+콘티+엔티티 (2택1: 체인 승)", "share_plan": { "ref_plan": "prev", "prev_anchor_tag": "S3sh1" } }, "S3sh2::cine": { "applied": true, "fingerprint": "39ad850333729fcd3c0cf9d96e4ade0ce1610633fd5bc4e9dcdc3e225ec51eba", "fingerprint_version": 2, "provider": "reve", "endpoint": "reve/2.1/edit", "model": "reve/2.1/edit", "pack": "24.202608252115", "source_file": "S3sh2_sel.png", "source_sha256": "da13ec4325cb632b0404f7f1ca514c822028ef610f7deaa4a74216f93dd7b421", "file": "S3sh2_cine.png", "latency_ms": 75934, "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 } } }