{ "status": "completed", "applicable_count": 67, "completed_count": 67, "failed_count": 0, "schema_version": 3, "config_hash": "b9c71c81b67c097c", "data": { "contis": { "S1sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S1sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/background_chain/seed_bg_amusement_ride_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the open-air passenger platform of an amusement-park spinning ride, beside its safety bar.\n\nSHOT TEXT (authoritative, Korean): 놀이공원의 타가디스코 기구 위에서 원심력에 의해 몸이 한쪽으로 기울어진 채 양손으로 안전바를 꽉 쥐고 환하게 웃고 있는 김선영과 이수정의 상체.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From inside the moving ride at waist-to-chest height, track both teenagers in a medium two-shot from a low, oblique three-quarter angle as centrifugal force tips their upper bodies toward the right side of frame. 김선영 and 이수정 (과거) occupy opposing halves of the frame, each gripping the safety bar and smiling toward the ride’s direction of travel rather than the lens, with their differently angled shoulders preserving the instability of the motion.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 타가디스코 안전바 (Both riders are gripping it tightly) — Its length crosses diagonally in front of both riders, matching their shared sideways lean; used as Runs across the lower part of the frame as the shared physical anchor for both riders; 타가디스코 기구 (In vigorous motion) — The interior side surrounding the riders is visible from the camera position within the ride; used as Provides partial environmental context behind the paired upper bodies without distracting from their expressions.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/background_chain/seed_bg_amusement_ride_sel.png" ], [ "char:김선영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/c72664a8-693f-4318-ac99-14db9cabd9d6.png" ], [ "char:이수정 (과거)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/b2bc1d04-b4d0-44b8-9d88-b904cbb76db9.png" ] ], "asset_id": "3b55fdf0-e214-48b4-92b2-fc2f3f40a74d" }, "S2sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S2sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L02B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the dining area of a small family-run restaurant, near the tables and the route to the exit.\n\nSHOT TEXT (authoritative, Korean): 손에 쥔 천 원짜리 지폐를 허공에 치켜든 채 장난스럽게 혀를 내밀고 뒤돌아선 김선영의 상체.\n\nCARRIED STATE (persist exactly): Sun-young keeps the won bills she has just taken from her mother in hand or on her person as she turns to leave.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold close at chest height on 김선영’s oblique three-quarter side, framing her from below the shoulders as she raises the extra banknote into the upper portion of the image and begins turning toward the entrance. Her playful tongue-out expression remains directed back toward her off-screen mother, while the lifted hand and bill form a diagonal counterline to her departing shoulders.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 천 원짜리 지폐 (Held aloft in one hand) — One printed face is angled toward the camera sufficiently to read it as a banknote; used as Held above 김선영’s shoulder line as the visual punctuation of her teasing reaction; 식당 입구 (Visible in the background) — The interior-facing side lies along 김선영’s turning path; used as Appears softly beyond her turning shoulder to preserve the direction of her impending exit.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L02B02.png" ], [ "char:김선영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/c72664a8-693f-4318-ac99-14db9cabd9d6.png" ] ], "asset_id": "57b93152-a07a-476e-8ced-2ab21d616822" }, "S2sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S3sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L03B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the dark shared bedroom of the old family home, beside the floor bedding where the younger sister sleeps.\n\nSHOT TEXT (authoritative, Korean): 바닥에 누워 등 쪽으로 몸을 웅크린 민정을 향해 곁눈질하며 수화기를 입가에 바짝 붙인 김선영의 얼굴.\n\nCARRIED STATE (persist exactly): Sun-young remains on the house telephone, holding its receiver close while Min-jung sleeps beside her.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Dolly into a floor-level facial close view from 김선영’s front-side diagonal, keeping her face and the receiver prominent while 민정 (과거)’s curled back remains a soft form at the near edge of the frame. 김선영 presses the receiver close to her mouth and cuts her eyes toward the sleeping child, lowering her voice without turning her head fully.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김선영 in the middle-center of the frame, foreground, looks toward sleeping 민정 (과거); 민정 (과거) in the lower-left of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 집 전화 수화기 (Held tightly close to her face) — Its speaking end is angled toward 김선영’s mouth while its side is visible to camera; used as Pressed near 김선영’s mouth as the immediate focus of her secretive conversation; 방 바닥 (Partially visible); used as Provides the low spatial plane supporting 민정 (과거)’s curled body at the composition edge.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L03B03.png" ], [ "char:김선영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/c72664a8-693f-4318-ac99-14db9cabd9d6.png" ] ], "asset_id": "1b314e3b-8a4d-411c-bafa-9264359dab22" }, "S3sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh7": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S3sh7.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L03B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Outside in a narrow residential alley near the old family home, dimly lit by streetlamps at night.\n\nSHOT TEXT (authoritative, Korean): 가로등 불빛이 희미한 좁고 어두운 밤골목에서 한쪽 발을 막 들어 올린 mid-stride 자세인 김선영의 뒷모습 전신.\n\nCARRIED STATE (persist exactly): Sun-young continues to wear the purple padded jacket while walking through the dark alley.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track at waist height from behind 김선영, far enough back to retain her full figure and the foot just lifting into the next stride within the narrow alley. Place her slightly off the central walking line, with her back directed into the depth of the frame and her attention fixed on the unoccupied route ahead.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 김선영 in the middle-center of the frame, midground, moves toward deeper section of the alley.\n- KEY BACKGROUND ELEMENTS: 좁은 밤골목 (Dark) — The alley extends away from the camera along 김선영’s walking line; used as Creates a confined depth corridor around 김선영’s receding full-body stride.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L03B02.png" ], [ "char:김선영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/c72664a8-693f-4318-ac99-14db9cabd9d6.png" ] ], "asset_id": "5e766447-87b6-4f12-958f-247d3a74c30d" }, "S4sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S4sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L03B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the old family home, looking from the sunlit wooden-floored hall into the now-empty sisters’ bedroom.\n\nSHOT TEXT (authoritative, Korean): 마루에 선 민정과 심옥(선영의 엄마) 너머로 보이는, 주인이 사라진 텅 빈 자매의 방 안 풍경.\n\nCARRIED STATE (persist exactly): Sun-young's neatly pressed school uniform remains hanging in front of the sisters' wardrobe while she is missing.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From several steps behind 민정 (과거) and 심옥, hold above shoulder height and angle gently downward past their uneven silhouettes into the open shared bedroom. Keep the two figures as separate foreground edge anchors while the empty room occupies the central and upper field, drawing focus to 김선영’s well-ironed uniform hanging at the wardrobe rather than to either face.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 민정 (과거) in the lower-left of the frame, foreground, looks toward empty shared bedroom; 심옥 in the lower-right of the frame, foreground, looks toward empty shared bedroom; empty shared bedroom and hanging uniform in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 자매의 방 (Empty) — The camera looks into the room from the maru through its open doorway; used as Forms the central negative space that makes 김선영’s absence physically legible; 열린 방문 (Open) — The maru-facing opening is viewed from behind 민정 (과거) and 심옥; used as Frames the empty room beyond both foreground figures; 선영의 교복 (Well-ironed and hanging at the wardrobe) — Its front and side folds are visible where it hangs at the wardrobe; used as Carries the strongest evidence of an interrupted school-day routine within the empty room; 옷장 (Visible behind the hanging uniform) — The side facing into the room and toward the camera is visible beyond the doorway; used as Provides the placement anchor for the hanging uniform at the rear of the room; 마루 (Morning sunlight falls across it); used as Separates the two foreground figures from the empty bedroom beyond.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L03B01.png" ], [ "char:심옥", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/73ba7526-a6cb-4eae-b894-dc26d9f3b12c.png" ], [ "char:민정 (과거)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/ec271cc8-a9e0-4fe4-9a78-eddcaa740def.png" ] ], "asset_id": "8abba053-c71a-463d-b8f7-6c7f530b0d52" }, "S5sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S6sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S6sh3.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the shabby soup restaurant’s dining room, at a table facing the wall-mounted television.\n\nSHOT TEXT (authoritative, Korean): 텔레비전 화면을 응시하며 미간을 깊게 찌푸린 전택수의 얼굴 클로즈업.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Dolly into a facial close-up from slightly above 전택수’s seated eye line, holding his front three-quarter angle and leaving a narrow strip of looking room toward the off-screen television. His brow tightens as his eyes remain fixed on the news, while the slight downward angle contains the reaction rather than dramatizing it.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 전택수 in the middle-center of the frame, foreground.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ] ], "asset_id": "beeec1ca-ab91-4882-b4fd-5f9e70998b1c" }, "S6sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S7sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S7sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L06B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside a parked car’s compact driver cabin, in the driver’s seat beside the closed side window and steering controls.\n\nSHOT TEXT (authoritative, Korean): 어스름한 저녁 도로가에 주차된 차의 운전석에 앉아 닫힌 차창 밖을 멍하니 바라보는 전택수의 측면.\n\nCARRIED STATE (persist exactly): The worn wallet containing the schoolgirl's black-and-white photograph remains in Taksu's possession; it is the same photograph he eventually hands to Euiyong.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the front passenger side at the driver's seated eye height, hold a static medium view across 전택수's three-quarter profile toward the closed side window. He sits in the left half of frame with his shoulders settled against the seat, his unfocused gaze fixed outside, while the window and roadside occupy the right half and leave visual room for the coming downward move.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 운전석 측면 차창 (closed) — The closed window is seen obliquely, with the roadside visible beyond it; used as The closed surface holds 전택수's outward sightline and divides the enclosed car interior from the roadside; 차량 운전석 내부 (시동이 걸리지 않은 상태); used as Provides restrained spatial context behind 전택수 without competing with his profile.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L06B02.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ] ], "asset_id": "225088d0-3353-449a-9c05-6736ac3b83ee" }, "S7sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S7sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L06B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the parked car at the driver’s position, where the open wallet is held close above the seat and controls.\n\nSHOT TEXT (authoritative, Korean): 활짝 펼쳐진 지갑 안쪽, 앳된 소녀의 흑백사진 위에 손가락 끝을 대고 있는 전택수의 손 클로즈업.\n\nCARRIED STATE (persist exactly): The schoolgirl's black-and-white photograph remains inside Taksu's open worn wallet beneath his fingertips.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From steeply above 전택수's lap and slightly toward the steering column, tighten into an insert of the open worn wallet as his fingertip rests on the schoolgirl's black-and-white photograph. The photograph and fingertip occupy the central area without exceeding a natural scale, while the wallet edges and a narrow portion of his lap remain as spatial reference.\n- FRAMING SCALE: insert close-up on a detail\n- FRAME LAYOUT: open wallet and photograph in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 낡은 지갑 (open) — The wallet is fully opened toward the camera, exposing its inner compartments; used as Forms the immediate frame around the photograph and hand; 교복 입은 소녀의 흑백사진 (지갑 안쪽에 놓여 있음) — The printed face is visible to camera, showing the young girl in school uniform beneath the touching fingertip; used as The photograph is the focal content beneath 전택수's fingertip.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L06B02.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ] ], "asset_id": "d12d6664-9867-4826-b49b-6c67a402017d" }, "S8sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S9sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S9sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L08B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Outside in the police station forecourt, beside the parked vehicle and facing the modest main building.\n\nSHOT TEXT (authoritative, Korean): 닫힌 차 문 옆에 선 채 낡고 소박한 외관의 나주 경찰서 건물을 올려다보는 전택수의 뒷모습 전신.\n\nCARRIED STATE (persist exactly): The worn wallet containing the same black-and-white photograph remains in Taksu's possession.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From waist height several paces behind 전택수, hold a mild low-angle wide frame after the upward tilt, with his full back-facing figure beside the closed car door in the lower center and the police station exterior rising above him. His weight settles on one leg and his chin lifts toward the building, making the upward gaze—not a static pose—the frame's defining action.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 전택수 in the lower-center of the frame, midground, looks toward police station exterior; police station exterior in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 나주 경찰서 건물 (낡고 소박한 외관) — Its modest front exterior faces the camera above 전택수; used as The building occupies the upper frame as the destination of 전택수's upward gaze; 차 문 (closed) — The exterior side of the door is visible beside 전택수; used as Anchors 전택수 at the end of his exit action without obscuring his full body.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L08B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ] ], "asset_id": "eb0e6790-36a1-4842-95e4-e6f0ef3e62eb" }, "S10sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S10sh8.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L09B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the police station corridor, directly outside the locked investigation chief’s office.\n\nSHOT TEXT (authoritative, Korean): 전택수의 앞을 가로막고 서서 손바닥을 위로 향하게 내민 채 굳은 표정을 짓고 있는 서의용의 측면.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At chest height beside the line between the two men, dolly slightly closer across 서의용's lateral profile toward 전택수, changing only the camera distance as the blocking gesture becomes clearer. 서의용 occupies the near left with his palm raised between them, while 전택수 remains in the right midground, stopped by the gesture and looking back at him.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 서의용 in the middle-left of the frame, foreground, reaches for space blocking 전택수's path; 전택수 in the middle-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 경찰서 복도 (낮 시간의 복도); used as Provides the immediate procedural setting behind the confrontation; 수사과장 사무실 문 (closed and locked) — The corridor-facing side is visible behind or beside 전택수; used as Marks the destination where 전택수 had been trying the handle.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L09B01.png" ], [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/db56c246-9e18-495e-93ed-50f743e86dc7.png" ] ], "asset_id": "76946034-cea0-4d85-b91a-31426034b743" }, "S10sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S10sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S11sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S11sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L10B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Outside in the police station’s open-air rest area, beside the smoking bench near the building.\n\nSHOT TEXT (authoritative, Korean): 서의용의 등 뒤에서 환하게 웃으며 서의용의 뒷모습을 향해 손가락을 뻗은 강력1팀장(한국인 남성)과 그 옆에서 옅은 미소를 띤 주철의 상체.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track close behind seated 서의용 at shoulder height, using his back and shoulder as a foreground frame while aiming slightly upward toward the two men behind him. 강력1팀장 occupies the upper-left, leaning into his joke with a finger extended toward 서의용, while 주철 stands at upper-right with a smaller smile and both men keep their attention on the seated detective.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 강력1팀장 in the upper-left of the frame, midground, points to 서의용's back; 서의용 in the lower-center of the frame, foreground; 주철 in the upper-right of the frame, midground, looks toward 서의용.\n- KEY BACKGROUND ELEMENTS: 의자 (서의용이 앉아 있음) — Its back aligns beneath 서의용, facing away from the camera; used as The chair fixes 서의용 below the two teasing men and supports the layered over-shoulder composition; 경찰서 앞 휴게공간 (낮 시간의 휴게공간); used as Provides open spatial context around the three detectives.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L10B01.png" ], [ "char:주철", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/880cf124-52da-4b93-861c-1c2484ac71bc.png" ] ], "asset_id": "93f874b0-dcdf-48e3-bdff-70e8298f4e41" }, "S12sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S12sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L11B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the police station’s large conference room, at the front podium facing rows of seated officers.\n\nSHOT TEXT (authoritative, Korean): 미간을 찌푸린 채 검지손가락으로 맨 뒷줄의 서의용을 가리키는 전택수의 정면.\n\nCARRIED STATE (persist exactly): The worn wallet containing the same black-and-white photograph remains in Taksu's possession.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From seated chest height in the central audience area, hold a mildly low, slightly off-axis medium view of 전택수 before the seated detectives rather than placing him directly on 서의용's sightline. 전택수 occupies the center-left with his brow tightened and index finger aimed toward the rear row outside frame, his eyes fixed on 서의용 as the audience seating remains visible along the lower edges.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 전택수 in the middle-center of the frame, midground, points to 서의용 in the rear row.\n- KEY BACKGROUND ELEMENTS: 수사과 형사들의 좌석 (형사들이 앉아 경청 중) — The rows face toward 전택수 at the front of the room; used as Places the camera within the assembled staff and provides lower-frame depth toward the speaker; 단상 (전택수가 앞에 위치) — The audience-facing side is visible near 전택수; used as Anchors 전택수 at the front during his address.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L11B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ] ], "asset_id": "f9d0a698-6710-4e84-8669-47212bef4b62" }, "S12sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S13sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S13sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L12B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the busy violent-crimes office, beside the team leader’s workstation among the detectives’ desks.\n\nSHOT TEXT (authoritative, Korean): 의기양양한 표정으로 한 손에 쥔 스마트폰 화면을 서의용의 눈앞으로 쑥 내민 주철의 상체.\n\nCARRIED STATE (persist exactly): Jucheol is still holding out his phone with the woman's photograph displayed for Euiyong to inspect.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From standing chest height just behind 서의용, the camera completes its dolly-in across his near shoulder into a tight medium view of 주철, whose upper body occupies the middle-right of frame. 주철 leans forward and thrusts the smartphone toward the left foreground; its screen remains steeply oblique while 서의용's cropped shoulder and implied eyeline preserve the exchange without turning the phone frontally toward the lens.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 서의용 in the middle-left of the frame, foreground, reaches for smartphone between the two men; 주철 in the middle-right of the frame, midground, reaches for 서의용's eyeline.\n- KEY BACKGROUND ELEMENTS: smartphone (Held out by 주철 with a photograph displayed) — The illuminated screen face is visible only at a steep oblique angle, with the selected photograph partially legible rather than presented squarely; used as Held in the foreground between the two men as the visual hinge of the exchange; 강력반 office desks (Part of the busy office); used as Provides restrained office context behind 주철.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L12B02.png" ], [ "char:주철", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/880cf124-52da-4b93-861c-1c2484ac71bc.png" ] ], "asset_id": "a52780d1-f259-4a3c-9466-aaf255f5b24f" }, "S13sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S14sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S14sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L13B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the investigation chief’s office at the open doorway, where visitors enter from the corridor.\n\nSHOT TEXT (authoritative, Korean): 열린 문가에 나란히 선 채 굳은 얼굴로 전택수를 응시하는 서의용과 주철의 전신.\n\nCARRIED STATE (persist exactly): The worn wallet containing the same black-and-white photograph remains in Taksu's possession.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From waist height inside the room, the camera pans diagonally toward the open doorway, holding 서의용 and 주철 full-length without aligning them squarely to the lens. 전택수's turned shoulder occupies a narrow near-frame edge as the two arrivals pause in the doorway, their rigid faces and eyelines fixed on him.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 전택수 in the middle-left of the frame, foreground, looks toward the two men in the open doorway; 서의용 in the middle-center of the frame, background, looks toward 전택수 inside the office; 주철 in the middle-right of the frame, background, looks toward 전택수 inside the office.\n- KEY BACKGROUND ELEMENTS: office doorway (Open) — The open doorway is seen diagonally from inside the room, exposing both the threshold and the entering side; used as Frames the two arrivals at full length and separates them from the office interior; office desk (Holding the report he had been reviewing); used as Keeps 전택수's prior working position legible at the foreground edge.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L13B03.png" ], [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/db56c246-9e18-495e-93ed-50f743e86dc7.png" ], [ "char:주철", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/880cf124-52da-4b93-861c-1c2484ac71bc.png" ] ], "asset_id": "0199b4d9-6a46-4141-a999-014a52b89a0b" }, "S14sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S15sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S15sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L14B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the police records room, in a narrow aisle between tall shelves of dusty case boxes.\n\nSHOT TEXT (authoritative, Korean): 좁고 어두운 자료실 안, 간이 의자를 밟고 서서 높은 책장 꼭대기의 낡은 서류 상자를 양손으로 움켜쥔 서의용의 전신.\n\nCARRIED STATE (persist exactly): The dust-covered case-record box is being removed from its established place on the high shelf.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From waist height at the far end of the narrow aisle, the camera begins a low diagonal dolly-in that holds 서의용's full body against the height of the shelving. He balances on the chair near the center-right, both arms raised to grip the document box at the top shelf while his eyes remain fixed upward on it.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 서의용 in the middle-right of the frame, midground, looks toward document box on the top shelf; top shelf and document box in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: high bookshelves (Filled with case-record boxes) — The shelving recedes along both sides of the aisle, with its upper storage level visible above 서의용; used as Creates the narrow aisle and vertical scale around 서의용; temporary chair (Supporting 서의용) — Seen from a low diagonal angle beneath 서의용's feet; used as Elevates 서의용 within the aisle while remaining fully visible; document box (Old and dust-covered) — Its outward side and top edge are visible as it is pulled from the highest shelf; used as Target of 서의용's raised hands and upward gaze.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L14B01.png" ], [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/db56c246-9e18-495e-93ed-50f743e86dc7.png" ] ], "asset_id": "b7983748-625e-499c-a899-16566491dcc0" }, "S15sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S16sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S16sh3.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the open front passenger doorway of a compact car, looking into the tightly arranged passenger seat and dashboard cabin.\n\nSHOT TEXT (authoritative, Korean): 자동차 조수석 문손잡이를 움켜쥔 채 망설이는 눈빛으로 차 안을 들여다보는 김선영의 측면.\n\nCARRIED STATE (persist exactly): Sun-young is still wearing the purple padded jacket as she grips and opens the passenger door to enter Ji Guk-hyeon's car.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At waist height beside the passenger door, the camera completes a measured dolly-in from 김선영's rear three-quarter side, keeping her hand on the handle in the lower-right and her hesitant profile above it. She leans only slightly toward the cabin and studies 지국현 inside, while the car body and doorway preserve the physical threshold between them.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 김선영 in the middle-right of the frame, midground, looks toward 지국현 inside the front cabin; passenger door handle in the lower-right of the frame, foreground, reaches for passenger door handle.\n- KEY BACKGROUND ELEMENTS: red Matiz passenger door (Closed as 김선영 hesitates before opening it) — The passenger side faces the camera obliquely, with the exterior handle visible beneath 김선영's hand; used as Physical threshold framing 김선영's hand and the cabin beyond; passenger window opening (Window lowered) — The lowered window leaves the front cabin and 지국현's position visible beyond the door; used as Visible space beyond 김선영's hand and gaze; residential alley (Deserted late at night); used as Sparse background separating 김선영 and the car from passersby.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:김선영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/c72664a8-693f-4318-ac99-14db9cabd9d6.png" ] ], "asset_id": "50cc9706-0e45-44c2-8b2d-7f90af93f808" }, "S16sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S16sh6.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the compact car’s front passenger cabin after it stops on the dark riverside road, beside the dashboard and fixed seats.\n\nSHOT TEXT (authoritative, Korean): 인적 없는 캄캄한 강변길에 멈춰 선 자동차 안, 확장된 동공으로 숨을 들이마신 채 굳어 있는 김선영의 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Sun-young remains in the passenger seat wearing the purple padded jacket after the car stops on the Dedeul River road.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Inside the stopped car just inboard of the passenger-side dashboard, the dolly-in ends on a tight close-up from slightly above 김선영's eyeline and off her frontal axis. Her face occupies the center-right, pupils widened and breath caught, while a narrow dashboard edge and darkness beyond the passenger window keep the realization anchored inside the halted car.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김선영 in the middle-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: passenger-side dashboard edge (Inside the stopped car) — Its passenger-facing upper edge enters only along the lower-left boundary; used as Narrow foreground anchor confirming the camera remains inside the car; passenger window (Beside the stopped car) — The window separates 김선영 from the dark, deserted riverside road visible beyond; used as Keeps the dark riverside road outside her immediate enclosure.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:김선영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/c72664a8-693f-4318-ac99-14db9cabd9d6.png" ] ], "asset_id": "f82d3237-f664-4a80-af7a-b0208ad3671b" }, "S17sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S18sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S18sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/background_chain/seed_bg_residential_alley_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Outside at a fork in an old residential alley, directly in front of the former butcher-shop site now occupied by a chicken shop.\n\nSHOT TEXT (authoritative, Korean): 낡은 통닭집 간판이 보이는 주택가 골목길에서 한 발을 앞으로 막 내디딘 mid-stride 자세의 전택수 정면 전신.\n\nCARRIED STATE (persist exactly): The worn wallet containing the same black-and-white photograph remains in Taksu's possession.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From waist height several meters ahead, the camera tracks backward just off the walking axis, catching 전택수 nearly frontally but in a slight three-quarter full-body view as his forward foot lands. He occupies the middle foreground while 서의용 follows at an uneven step behind him, and the old chicken-shop sign stays visible above and beyond 전택수 without either man looking into the lens.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 전택수 in the middle-center of the frame, midground, moves toward camera-side foreground along the alley; 서의용 in the middle-right of the frame, background, moves toward 전택수's path through the alley; old chicken-shop sign behind 전택수 in the upper-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: old chicken-shop sign (Old) — Its sign face is visible behind 전택수 and identifies the premises as an old-style chicken shop; used as Background landmark identifying the location of their approach; residential alley intersection (Daytime) — The approaching lane opens into the fork behind and around the two men; used as Establishes the intersecting residential layout around the walking figures.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/background_chain/seed_bg_residential_alley_sel.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ] ], "asset_id": "91dd65ba-6157-4be3-ada7-eab7aae47754" }, "S18sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S19sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S19sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the moving van’s compact driver cabin, at the steering position with the rear-view mirror aimed toward the back seat.\n\nSHOT TEXT (authoritative, Korean): 운전석 룸미러를 통해 비친, 뒷좌석을 향해 눈동자가 치우친 서의용의 눈매 클로즈업.\n\nCARRIED STATE (persist exactly): The worn wallet containing the same black-and-white photograph remains with Taksu in the rear seat.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From just behind and to the side of the driver, the dolly-in ends at rearview-mirror height, viewing the mirror obliquely so the reflected eyes occupy the central portion while the mirror retains a visible border. Seo Eui-yong keeps his head oriented to driving but shifts his eyes toward the rear seat, making the glance feel brief and guarded rather than posed.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 운전석 룸미러 (Positioned for the driver’s rear view) — Its mirror surface reflects Seo Eui-yong’s eyes angled toward the rear seat, with the mirror border visible; used as Carries the reflected close-up and defines the mediated viewpoint; 차량 실내 (Vehicle traveling along the road) — The camera views the cabin from behind and slightly beside the driver; used as Provides restrained cabin context outside the mirror’s reflected detail.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/db56c246-9e18-495e-93ed-50f743e86dc7.png" ] ], "asset_id": "9f69eeac-ba74-42ce-b6fa-b7bc8146db0d" }, "S20sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S20sh5.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Outside at the river’s edge, close enough to the bank for a hand to be dipped directly into the flowing water.\n\nSHOT TEXT (authoritative, Korean): 강물에 젖은 오른손을 허공에 든 채 미간을 찌푸린 전택수의 얼굴.\n\nCARRIED STATE (persist exactly): Taksu's right hand remains wet after he withdraws it from the cold river; the worn wallet and photograph remain in his possession.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: The crane completes its rise from hand height at a low three-quarter side angle, framing Taeksu’s wet raised right hand in the near lower third and his frowning face immediately above it. He remains bent from reaching into the river, studying the water on his fingers while the flowing river stays legible behind him without competing for attention.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 드들강 강물 (Flowing); used as Environmental context behind Taeksu and the source of the water on his hand; 강변 (Site identified as the original body-discovery location); used as Places Taeksu at the discovery location while the camera rises beside him.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ] ], "asset_id": "f190160d-97d4-460f-8df4-7703f8708204" }, "S21sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S21sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S21sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S22sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S22sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S22sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S23sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S23sh3.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside a shabby market seafood restaurant, at a corner table set for the four investigators.\n\nSHOT TEXT (authoritative, Korean): 소주병을 든 전택수의 손 아래로, 양손을 모아 빈 잔을 쥐고 있는 서의용의 상체.\n\nCARRIED STATE (persist exactly): Euiyong holds his glass with both hands while Taksu pours the soju. Taksu's worn wallet and photograph remain in his possession.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At seated chest height beside the corner table, the dolly-in frames Seo Eui-yong’s bowed upper body on the right while Taeksu’s bottle hand enters from the upper left above the empty glass cupped in both of Eui-yong’s hands. The vertical relationship of bottle, glass, and lowered head makes the reluctant deference immediately readable, with the table and partial seated figures maintaining realistic scale around the action.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 소주병 (Held for pouring) — The bottle is angled downward from Taeksu’s hand toward the glass; used as Upper-left action element positioned above Seo Eui-yong’s glass; 빈 소주잔 (Held with both hands); used as Central receiving object enclosed by Seo Eui-yong’s two hands; 구석 테이블 (Occupied by the four men) — The tabletop recedes diagonally between Taeksu’s hand and Seo Eui-yong’s torso; used as Supports the pouring action and preserves the group-meal context; 허름한 횟집 내부 (Nighttime restaurant interior) — The corner seating area remains behind the table group; used as Establishes the immediate restaurant setting beyond the close interaction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ], [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/db56c246-9e18-495e-93ed-50f743e86dc7.png" ] ], "asset_id": "9a70fde0-10cd-480d-9c66-43becfe5d143" }, "S23sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S24sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S25sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S25sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the moving car’s front cabin, at the driver’s seat beside the steering wheel and front passenger seat.\n\nSHOT TEXT (authoritative, Korean): 자동차 운전석에 앉아 핸들을 쥔 채 조수석 쪽을 힐끗 바라보는 서의용의 측면.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Dolly slightly closer from just behind the passenger seat at driver-shoulder height, looking diagonally across 서의용's right-side profile so his face and both hands on the steering wheel share the close composition. His torso stays oriented to driving while his eyes cut sideways toward 나상혁, the glance carrying the strain of his attempt to break the silence rather than addressing the lens.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: steering wheel (held during driving) — Seen obliquely from behind the passenger seat with 서의용's hands gripping it; used as Keeps the driving action legible beside the profile and provides a scale reference for the hands; passenger seat edge (between camera and driving position) — Its rear and inner side sit close to the camera at the frame edge; used as Forms the near camera-side frame without blocking the driver's profile; windshield (part of the occupied car) — Seen beyond the driving position toward the road ahead; used as Provides restrained spatial context for the moving car interior.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/db56c246-9e18-495e-93ed-50f743e86dc7.png" ] ], "asset_id": "35dc4e48-a745-4224-9ebe-ae2d03b1649c" }, "S25sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S25sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the moving car’s front passenger position, tightly adjacent to the dashboard, driver, and fixed seat.\n\nSHOT TEXT (authoritative, Korean): 정면을 응시한 채 단호한 표정으로 굳어있는 나상혁의 얼굴 클로즈업.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From near the dashboard and offset toward the driver side, hold a static close-up slightly below 나상혁's eye line, looking obliquely back at the passenger seat. Keep him off-center with his jaw set and shoulders pressed into the seat, his eyes aimed past the lens toward the road ahead so the apparent frontal gaze never becomes camera contact.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 나상혁 in the middle-right of the frame, foreground, looks toward road ahead beyond the windshield; road-ahead direction beyond the windshield in the upper-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: dashboard edge (in front of the passenger position) — Its upper plane crosses a small portion of the lower frame; used as A minimal lower-edge cue locating the camera near the front of the cabin; windshield (part of the moving car) — The camera looks obliquely toward the passenger while the road-ahead direction lies beyond it; used as Defines the direction of 나상혁's gaze beyond the camera offset; passenger seat (occupied) — Its front-facing backrest supports 나상혁 behind his shoulders; used as Supports his contained, unyielding 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\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:나상혁", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/0631163b-a5a8-4d32-b51b-f3c8937fc854.png" ] ], "asset_id": "2cb9fe4a-d36d-4195-a5f4-f48b217fae63" }, "S26sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S26sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside a university forensic-medicine research room, at the workstation monitor displaying autopsy photographs in daylight.\n\nSHOT TEXT (authoritative, Korean): 모니터 화면 속 부검 사진의 붉은 자국을 손가락으로 가리키는 김민호(부검의)의 상체.\n\nCARRIED STATE (persist exactly): The autopsy photographs remain displayed on the monitor while Dr. Kim points out the injuries.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At chest height beside the monitor, frame 김민호 in a medium composition on the opposite side of its near edge, viewed at a diagonal three-quarter angle. He leans toward the displayed autopsy photograph and extends one finger to the visible red marks, keeping his eyes on the precise area he is explaining while the monitor remains a substantial but secondary portion of the frame.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 김민호 in the middle-right of the frame, midground, points to red marks in the autopsy photograph on the monitor; monitor displaying the autopsy photograph in the middle-left of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: monitor (displaying autopsy photographs) — The screen face is visible at an oblique angle and displays an autopsy photograph with red marks; used as Foreground evidence surface positioned beside the camera and connected directly to 김민호's pointing finger; research laboratory interior (arranged as a hospital examination-room-like space); used as Provides the examination-room-like research setting behind the explanation.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:김민호", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/05b773be-483d-4a68-9365-d8334f9eb4a8.png" ] ], "asset_id": "e1475a80-f269-4204-b89d-9d71bf2cef33" }, "S26sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S27sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S27sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S28sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S29sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S29sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L23B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the forensic institute research office, at the sofa table spread with autopsy findings and case records.\n\nSHOT TEXT (authoritative, Korean): 조일남을 향해 상체를 바짝 들이민 채 간절하고 강렬한 눈빛을 뿜어내는 전택수의 측면.\n\nCARRIED STATE (persist exactly): The worn wallet containing the same black-and-white photograph remains in Taksu's possession.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track at seated shoulder height close beside 전택수, tightening on his side profile while retaining 조일남 across the table as an off-axis counter-presence. 전택수 pitches his upper body far forward from the sofa with an urgent, unwavering stare fixed on 조일남, while 조일남 stays seated opposite and receives the appeal over the spread records.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 전택수 in the middle-left of the frame, foreground, looks toward 조일남 across the table; 조일남 in the middle-right of the frame, background, looks toward 전택수 leaning across the table; sofa table with forensic opinion and case records in the lower-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: sofa table (covered with forensic opinion and case records) — Its top plane recedes between the two seated men; used as Physical divider and shared anchor that makes 전택수's unusually deep forward lean measurable; forensic opinion and case records (spread across the table) — Document faces are spread upward on the table, with their existence legible but no added text detail; used as Evidence context visible beneath the men's opposing sightline; sofas (occupied by 전택수 and 조일남) — The opposing seat fronts face each other across the table; used as Establishes both men as seated while allowing 전택수 to break aggressively out of his resting position.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L23B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ] ], "asset_id": "027f7ca8-7095-48f4-afdf-0f32eec75ba9" }, "S29sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S30sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S30sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S31sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S31sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L25B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the one-room apartment’s living area, on the floor directly facing the switched-on television.\n\nSHOT TEXT (authoritative, Korean): 바닥에 털썩 주저앉은 채 초점 잃은 눈동자로 앞을 향해 굳어버린 이미경의 전신.\n\nCARRIED STATE (persist exactly): Mi-gyeong's hair remains wet from the shower as she collapses in front of the television.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: On the established three-quarter axis, dolly back to a wide full-body view from standing waist height with a slight downward tilt, revealing 이미경 stopped on the floor rather than changing the viewing side. She occupies the lower-right midground, collapsed around her own weight with the towel and wet hair still marking the interrupted routine, while her unfocused eyes remain fixed toward the television at upper left.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 이미경 in the lower-right of the frame, midground, looks toward television; television in the upper-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: television (On) — The active screen face is positioned across her natural seated eyeline; its specific content is not legible in this shot; used as Her fixed visual anchor and the source of the information that halts her; floor (이미경 is seated on it after collapsing); used as Provides the plane on which her collapse is fully legible; towel (Held near her wet hair); used as Remains with her as evidence that the collapse interrupted her post-shower action.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L25B03.png" ], [ "char:이미경", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/5a8449d6-b814-472f-b1d7-652fa89c6bbf.png" ] ], "asset_id": "1ed175ed-8b12-475a-9331-0ab1ffb98423" }, "S32sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S32sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L26B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the deputy chief prosecutor’s office, near the television where the current-affairs program is playing.\n\nSHOT TEXT (authoritative, Korean): 장원섭 쪽으로 고개를 돌린 채 매서운 눈빛을 쏘아내는 차장검사의 측면.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track beside 차장검사 at close profile distance and upper-chest height, holding a slight low angle as his head finishes turning toward 장원섭. His profile occupies one side of the frame and his sharp gaze cuts across the open side toward 장원섭 off-screen, with the active television reduced to soft background context rather than competing with the rebuke.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: television (On and showing the current-affairs program) — Its screen face is visible behind 차장검사 with the current-affairs program playing, but its imagery is kept out of focal emphasis; used as Soft background reminder of the broadcast that provoked the confrontation.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L26B02.png" ], [ "char:차장검사", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/74482473-59e3-41e0-823a-34df0ac37b7d.png" ] ], "asset_id": "35743079-051d-438d-8245-ef97dbb3c7c7" }, "S32sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S33sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S33sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L27B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the police chief’s office at the table holding the laptop used to watch the broadcast.\n\nSHOT TEXT (authoritative, Korean): 노트북 키보드의 스페이스바에 검지손가락을 얹고 꾹 누른 채 정지한 경찰서장의 손 클로즈업.\n\nCARRIED STATE (persist exactly): The laptop video remains paused at the point where the secretly recorded, mosaic-covered image of Taksu is on screen.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the police chief's side just above desk height, look obliquely down in an insert centered on his hand as the index finger holds the spacebar depressed. The hand supplies the human scale while the keyboard occupies less than half the frame, with a strip of desk surrounding it so the act reads as a deliberate silencing rather than a product detail.\n- FRAMING SCALE: insert close-up on a detail\n- KEY BACKGROUND ELEMENTS: laptop keyboard (The spacebar is held down and playback has stopped) — The upper keyboard deck faces the camera at an oblique downward angle, with the spacebar under the police chief's index finger; used as Carries the decisive action that stops the broadcast; desk surface (Supporting the laptop); used as Surrounds the hand and keyboard with spatial context and prepares the following lateral rise.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L27B01.png" ], [ "char:경찰서장", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/212e84df-a017-4fc8-babd-4f605e327142.png" ] ], "asset_id": "202feea6-8102-4b78-bd42-82d0c5e665c8" }, "S33sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S34sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S34sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L28B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the car’s compact driver cabin as it approaches the prosecution office entrance, behind the windshield and steering controls.\n\nSHOT TEXT (authoritative, Korean): 자동차 운전석에 앉아 앞창 너머를 향해 매서운 눈빛을 빛내는 전택수의 측면.\n\nCARRIED STATE (persist exactly): The worn wallet containing the same black-and-white photograph remains in Taksu's possession as he drives into the prosecution service.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track alongside the driver's side at window height, framing 전택수 in a medium-close profile from just behind his shoulder line as the car continues through the entrance. His body stays engaged with the steering position while his narrowed eyes hold on the route beyond the windshield; the side window remains a transparent layer between lens and subject without turning the shot into a reflection.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: driver-side window (Positioned between the camera and driver) — The camera looks through the window toward 전택수 in the driver's seat; no surface condition is specified; used as Transparent foreground layer through which the tracking profile is observed; windshield (In front of the driver's position) — Its forward-facing plane lies beyond 전택수, with the route ahead seen through it without emphasized detail; used as Carries 전택수's forward sightline beyond the profile; steering wheel (Held in the driving position) — The driver-facing side is angled toward 전택수 and partly visible below his profile; used as Grounds his driving posture without pulling focus from his expression.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L28B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ] ], "asset_id": "47fe1ef7-ff47-4d48-ab46-36e8377f6859" }, "S35sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S35sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L29B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the prosecutor’s bright private office, in the open area between the desk and visitor seating.\n\nSHOT TEXT (authoritative, Korean): 밝은 채광의 사무실 한가운데 서서 서로의 눈을 마주 본 채 허공에서 단단하게 맞잡은 장원섭과 전택수의 두 손 클로즈업.\n\nCARRIED STATE (persist exactly): Taksu and Wonseop's hands remain firmly clasped for their introductory handshake. Taksu retains the worn wallet and black-and-white photograph.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At hand height and very close to the standing pair, hold a static oblique angle across the gap between their torsos so their firmly joined hands sit in the central lower area, with each forearm entering from an opposing edge. Their faces remain outside the tight frame, but the opposed body lines and sustained grip make clear that 장원섭 and 전택수 are meeting one another's eyes rather than presenting the handshake to the lens.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 장원섭 in the middle-left of the frame, midground, reaches for shared handshake; 전택수 in the middle-right of the frame, midground, reaches for shared handshake.\n- KEY BACKGROUND ELEMENTS: office seating (Unoccupied during the handshake) — The seating fronts are angled toward the discussion area behind the standing pair; used as Soft background context that anticipates their move from greeting into formal discussion.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L29B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ], [ "char:장원섭", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/fe1611e0-e000-4fa7-b7f9-4cce322e265d.png" ] ], "asset_id": "a37a55c8-315a-4369-b6c9-1db1b39576a7" }, "S35sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S35sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S36sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S36sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the van’s rear passenger compartment, beside a fixed back seat and window overlooking the prison buildings.\n\nSHOT TEXT (authoritative, Korean): 승합차 뒷좌석 창문 너머로, 차창에 바짝 기대어 고개를 든 채 교도소 건물을 올려다보는 전택수의 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): The worn wallet containing the same black-and-white photograph remains with Taksu in the van's rear seat.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Outside the rear side window and slightly below 전택수's seated face, the static close-up looks upward across his three-quarter profile through the window. His face stays close to the glass on the left half of frame while the prison building remains higher beyond him, giving his lifted gaze a physically plausible destination.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 전택수 in the middle-left of the frame, midground, looks toward prison building; prison building in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: rear side window (Between the camera and 전택수) — 전택수 is visible through the window, with the prison building beyond his raised sightline; used as The camera sees through it while retaining the physical separation between observer and passenger; prison building (Visible as the vehicle passes the prison entrance) — An exterior face is visible above and beyond the vehicle window; used as Forms the elevated object of 전택수's attention in the background.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ] ], "asset_id": "d2040293-cef2-4a82-adf6-890570ea4299" }, "S37sh11": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S37sh11.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L32B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the prison interview room at the interrogation table, with officers, fixed seating, and a guard positioned behind.\n\nSHOT TEXT (authoritative, Korean): 손에 쥔 담뱃갑을 코끝에 바짝 댄 채 눈을 내리깐 지국현의 상체.\n\nCARRIED STATE (persist exactly): Ji Guk-hyeon holds Sang-hyeok's Marlboro Red pack at his nose, while the offered lighter remains with the cigarettes until both are taken back.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the open side of the table at slightly above tabletop height, the dolly-in reaches a close upper-body three-quarter view of 지국현. He holds the cigarette pack directly beneath his nose with lowered eyes still visible, while the lower edge of the table preserves the interrogation-room context without enlarging the pack beyond its natural scale.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Marlboro Red cigarette pack (Held in 지국현's hand) — A branded face of the pack is angled partly toward the camera while its top is held beneath 지국현's nose; used as Serves as the immediate object of 지국현's deliberate smelling gesture; interrogation table (Positioned between 지국현 and the interrogators) — The near edge runs across the bottom of frame; used as Keeps a narrow strip of procedural space beneath the close framing.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L32B02.png" ], [ "char:지국현", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/8ebee746-d6c8-4161-9672-43f448108647.png" ] ], "asset_id": "6180aa84-621b-468e-add5-434715dce757" }, "S37sh21": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S38sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S38sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L38B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the prison corridor immediately outside the interview room, walking toward the cell wing.\n\nSHOT TEXT (authoritative, Korean): 한쪽 발을 앞으로 내디딘 채 고개를 돌려 평온한 얼굴로 교도관을 쳐다보는 지국현의 측면.\n\nCARRIED STATE (persist exactly): Ji Guk-hyeon remains in his prison uniform and under the escort of the same correctional officer as they walk toward his cell.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At chest height beside and slightly ahead of 지국현's walking line, the lateral track tightens toward a clean profile as he plants his forward foot and calmly turns his head toward the 교도관. 지국현 occupies the middle-left while the 교도관 remains alongside at middle-right, both caught in different phases of the same walk down the corridor.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 지국현 in the middle-left of the frame, midground, looks toward 교도관 walking beside him; 교도관 in the middle-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: prison corridor (지국현 and the 교도관 are walking through it) — The corridor extends along their direction of travel, seen from a lateral angle; used as Provides the receding walking axis behind and ahead of the two figures.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L38B03.png" ], [ "char:지국현", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/8ebee746-d6c8-4161-9672-43f448108647.png" ] ], "asset_id": "60352680-c6d6-41b7-8ce3-c6d212e31169" }, "S38sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S38sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L38B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the prisoner’s narrow solitary cell, against a wall covered with handwritten Bible-verse notes.\n\nSHOT TEXT (authoritative, Korean): 성경 구절 쪽지들이 붙은 독방 벽을 배경으로 감정 없이 굳은 지국현의 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): The Bible-verse notes remain attached to the walls of Ji Guk-hyeon's solitary cell.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From just above eye level inside the solitary cell, the dolly-in resolves into a near-static close-up of 지국현 in front three-quarter view. His emotionless face occupies the center-left while the Bible-verse notes remain legible as clustered background shapes over his opposite shoulder, his gaze held away from the lens.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 지국현 in the middle-left of the frame, foreground; Bible-verse notes in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: Bible-verse notes (Attached to the solitary-cell wall) — The written faces of multiple notes are visible to the camera on the wall behind 지국현; used as Keeps the written religious references visible behind 지국현's impassive face; solitary-cell wall (Behind 지국현); used as Provides the fixed background plane holding the notes.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L38B03.png" ], [ "char:지국현", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/8ebee746-d6c8-4161-9672-43f448108647.png" ] ], "asset_id": "091fc04e-95e2-423a-a766-39b0ad03daa3" }, "S39sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S39sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S40sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S40sh5.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the auto-repair shop’s glass-fronted office, with the workshop visible beyond the window frames.\n\nSHOT TEXT (authoritative, Korean): 불쾌한 표정으로 서의용을 매섭게 노려보는 30대 남성(한국인)의 얼굴 클로즈업.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Close behind and just outside 서의용's shoulder line, the static camera sits slightly below the 카센터 30대 남성's eye level and tightens to his off-center face, retaining 서의용's near shoulder as a soft foreground edge. The 카센터 30대 남성 leans forward defensively and fixes a sharp, displeased gaze on 서의용, with a narrow strip of the office window context remaining behind him.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: office window (The repair facilities are visible through it) — The camera sees the repair facilities beyond the framed window behind the 카센터 30대 남성; used as Preserves a narrow contextual view of the repair facilities behind the close confrontation; repair facilities (Visible beyond the office window); used as Provides workplace context in the limited background area left by the close-up.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:카센터 30대 남성", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/9f26419b-a7f7-4e74-9c4c-1567f1769217.png" ] ], "asset_id": "333e89eb-b298-4c23-b90e-07eef7baa4fb" }, "S40sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S41sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S41sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Outside at a neighborhood playground bench overlooking the children’s play area in clear daylight.\n\nSHOT TEXT (authoritative, Korean): 맑은 햇살이 비치는 놀이터 벤치에 앉은 이수정과 그 맞은편에 수첩을 들고 앉은 서의용, 나상혁의 전신.\n\nCARRIED STATE (persist exactly): Euiyong and Sang-hyeok keep their interview notebooks with them while seated opposite Lee Su-jeong.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From a slightly elevated position beyond one end of the bench area, frame the three adults in full body at a diagonal to their conversational axis, with the wider playground and playing children retained around them. 이수정 (현재) sits on one side looking toward 나상혁, while 서의용 and 나상혁 sit opposite with their notebooks, their differing torso angles preventing the arrangement from reading as a posed lineup.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 놀이터 벤치 (Occupied by the three adults) — Seen diagonally from one end, with 이수정 (현재) and the two investigators arranged across the conversation space; used as Shared seating anchor that establishes the interview arrangement; 동네 놀이터 (Children are playing nearby in individually varied phases of movement and attention); used as Wide environmental context around the interview; 수첩 (Held open) — Their open writing faces angle upward toward the investigators rather than directly toward camera; used as Held by the two investigators as procedural interview tools.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/db56c246-9e18-495e-93ed-50f743e86dc7.png" ], [ "char:나상혁", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/0631163b-a5a8-4d32-b51b-f3c8937fc854.png" ] ], "asset_id": "e7250c00-8a1f-4c1f-87ef-57b1d9f0ba70" }, "S41sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S42sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S42sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L41B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Outside the apartment unit’s front door along the building’s open-access corridor, beside the doorbell.\n\nSHOT TEXT (authoritative, Korean): 초인종을 가린 손을 그대로 둔 채 걱정스러운 눈빛으로 서의용을 쳐다보는 나상혁의 상체.\n\nCARRIED STATE (persist exactly): Sang-hyeok's hand remains laid over the doorbell button as he looks at Euiyong.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: The upward tilt settles beside the doorway at upper-torso height on a close three-quarter view of 나상혁, whose arm remains extended downward over the bell while his worried eyes turn toward 서의용 at the opposite frame edge. 나상혁 occupies the center-right, with only enough of 서의용 retained at left to establish the eyeline and the pressure of the interrupted reach.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 나상혁 in the middle-right of the frame, foreground, looks toward 서의용 at the doorway; 서의용 in the middle-left of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 현관문 (The men are positioned directly in front of it) — Its exterior corridor-facing side is seen obliquely behind the two men; used as Doorway-side anchor beside the held arm; 초인종 버튼 (Covered by 나상혁's hand) — Its pressable face is turned toward the men and partly concealed from camera by 나상혁's hand; used as Partially visible beneath 나상혁's extended hand; 아파트 복도 (Visible in the background) — The corridor extends away behind the doorway-side composition; used as Receding background line that keeps the apartment setting legible.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L41B01.png" ], [ "char:나상혁", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/0631163b-a5a8-4d32-b51b-f3c8937fc854.png" ] ], "asset_id": "a40f1f3a-5d81-4e5e-ae9b-0c89c8636b45" }, "S42sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S43sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S43sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L42B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the family apartment’s sitting area, around a table set with steaming cups of coffee.\n\nSHOT TEXT (authoritative, Korean): 탁자 위에 김이 오르는 찻잔을 사이에 두고 마주 앉은 서의용, 나상혁과 민정의 전신.\n\nCARRIED STATE (persist exactly): The protest placards and banners demanding a reinvestigation remain stored visibly inside the home.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From a far corner slightly above seated head height, use a high diagonal wide frame across the table to include the full bodies of 서의용, 나상혁, and 민정 (현재). The steaming coffee cup sits between the opposing sides without exceeding a small portion of the lower center; 서의용 glances into the room, 나상혁 attends to his open laptop, and 민정 (현재) faces the investigators across the table.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 탁자 (Holding the cup and open laptop) — Seen diagonally from above, separating 민정 (현재) from the two investigators; used as Central spatial divider between the interview participants; 커피잔 (Hot steam is rising from it); used as Small central detail marking the uneasy hospitality of the interview; 노트북 (Open) — The open screen faces 나상혁 and is seen obliquely from the camera corner; no screen content is specified; used as Procedural work surface in front of 나상혁; 시위용 피켓과 플래카드 (Displayed inside the home) — Their written faces are visible in the room, carrying text calling for reinvestigation of the case; used as Background evidence that catches 서의용's wandering attention.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L42B02.png" ], [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/db56c246-9e18-495e-93ed-50f743e86dc7.png" ], [ "char:나상혁", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/0631163b-a5a8-4d32-b51b-f3c8937fc854.png" ] ], "asset_id": "d3c8db46-9d60-40a3-b93c-e9d68c113842" }, "S43sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S44sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S44sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L43B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside a sunlit kindergarten classroom, on the floor-level reading area where children sit around an open picture book.\n\nSHOT TEXT (authoritative, Korean): 맑은 햇살이 드는 유치원 교실 안, 바닥에 모여 앉은 어린이들(한국인) 앞에서 펼쳐진 동화책을 무릎에 올린 채 허공을 응시하는 이미경의 상체.\n\nCARRIED STATE (persist exactly): The open storybook remains resting on Mi-gyeong's lap as she stops reading and drifts into thought.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the seated children's shoulder height just behind the edge of their group, finish the diagonal dolly-in on a medium three-quarter view of 이미경 with the open storybook still resting on her knees. The children remain as individually varied foreground figures along the lower edge—different head and shoulder angles rather than duplicated poses—while 이미경's reading posture has paused and her unfocused gaze drifts into empty space beyond them.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 이미경 in the middle-center of the frame, midground; seated children in the lower-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 펼쳐진 동화책 (Open) — Its open pages face upward on 이미경's knees and are visible obliquely to camera; no specific page imagery is stated; used as Lower-center narrative anchor connecting the interrupted reading to the children; 바닥에 모여 앉은 어린이들 (Seated in an irregular cluster with varied head, shoulder, and hand positions); used as Foreground framing layer below 이미경's eyeline; 유치원 교실 (Visible around the group); used as Setting context around the reading group.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L43B01.png" ], [ "char:이미경", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/5a8449d6-b814-472f-b1d7-652fa89c6bbf.png" ] ], "asset_id": "2e3ac9b7-ee1a-4666-9361-49a0220513c9" }, "S45sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S45sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L44B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Outside on the police station rooftop beside the perimeter railing overlooking the fields.\n\nSHOT TEXT (authoritative, Korean): 눈을 부릅뜨고 턱을 치켜든 채 서의용을 향해 손가락질을 하는 주철의 측면.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track close along 주철's side at upper-chest height, slightly below his raised chin, holding his widened eyes and extended pointing hand in profile while 서의용 remains along the gesture line deeper in frame. 주철 occupies the left foreground and looks directly at 서의용 rather than the lens; 서의용 stays near the right side by the railing, absorbing the reprimand without breaking their shared axis.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 주철 in the middle-left of the frame, foreground, points to 서의용; 서의용 in the middle-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 옥상 난간 (서의용 is positioned against it) — Its long side runs behind the men and is seen obliquely from 주철's side; used as Spatial anchor behind 서의용 and along the rooftop edge; 푸른 논 (Spread below the rooftop); used as Distant contextual layer beyond the confrontation.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L44B01.png" ], [ "char:주철", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/880cf124-52da-4b93-861c-1c2484ac71bc.png" ] ], "asset_id": "63b4e38a-3934-45aa-bcda-79cc1a70960b" }, "S45sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S46sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S46sh15": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S47sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S47sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L45B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the home dining area at the breakfast table, with morning sunlight filling the adjoining living room.\n\nSHOT TEXT (authoritative, Korean): 눈가에 손가락을 댄 채 배시시 웃는 10대 소녀(한국인)의 얼굴 클로즈업.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From beside the table at the seated girl's eye height, the completed dolly-in holds a close three-quarter view rather than a frontal portrait. 의용 집의 10대 소녀's face sits off-center with room toward 서의용; one fingertip touches her eye area as she gives him a small, sleepy smile.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 식탁 (Set for breakfast) — The near edge crosses the bottom of frame at an oblique angle; used as Soft lower-edge context for the seated breakfast setting; 된장찌개와 밑반찬 (Placed on the table); used as Soft background context kept subordinate to the girl's 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\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L45B01.png" ], [ "char:의용 집의 10대 소녀", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/d841d725-1569-4e0a-8b7f-b47784be75ee.png" ] ], "asset_id": "00109d8e-5da2-4d69-ba3e-ba987452d5b7" }, "S47sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S47sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S48sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S48sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L46B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the interior threshold of a suburban café’s glass entrance door, facing the seating area.\n\nSHOT TEXT (authoritative, Korean): 카페 유리문을 반쯤 민 채 안쪽을 향해 고개를 돌린 이미경의 전신.\n\nCARRIED STATE (persist exactly): Mi-gyeong enters the café in the same tense state in which she proceeds to the interview table.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From waist height several meters inside the entrance, the lateral track holds a wide three-quarter view of 이미경 and the partly opened glass door. She is placed slightly left of center with her full figure visible, one hand still pushing the door while her head turns into the café toward 나상혁 just beyond the camera-side table direction.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 카페 유리문 (Partly open) — The partly opened transparent door is seen from inside, with the entrance area visible through its closed portion; used as Frames 이미경's arrival and preserves the pause between outside and the interview space.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L46B01.png" ], [ "char:이미경", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/5a8449d6-b814-472f-b1d7-652fa89c6bbf.png" ] ], "asset_id": "ccc0ffbd-b528-49f9-b323-dcd3741b5172" }, "S48sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S48sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S49sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S49sh17": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S49sh19": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S50sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S50sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S51sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S51sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S51sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S52sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S52sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S52sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S53sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S53sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L47B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside a prosecution interview room, across the plain table where the prosecutor and suspect sit face to face.\n\nSHOT TEXT (authoritative, Korean): 조사실 테이블을 사이에 두고 굳은 표정으로 마주 앉은 장원섭과 지국현의 상체.\n\nCARRIED STATE (persist exactly): Wonseop and Ji Guk-hyeon remain seated opposite each other at the same interrogation table.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: A static lateral three-quarter two-shot at seated chest height frames 장원섭 and 지국현 across the investigation-room table without aligning the lens with either man's gaze. Their upper bodies occupy opposite sides of the frame with the empty center of the tabletop separating them, and each studies the other's guarded face.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 조사실 테이블 (Clear between the two seated men) — The near edge runs laterally across the lower frame while the tabletop recedes between the two men; used as Creates the physical and psychological divide between prosecutor and suspect and leaves its center available for the later envelope action.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L47B01.png" ], [ "char:장원섭", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/fe1611e0-e000-4fa7-b7f9-4cce322e265d.png" ], [ "char:지국현", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/8ebee746-d6c8-4161-9672-43f448108647.png" ] ], "asset_id": "cd9a66f3-ef4c-47f7-a6d7-2007f751b94d" }, "S53sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S53sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S54sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S54sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S54sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S55sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S55sh9": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S55sh9.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L32B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside a small prison interview room, across a table from the inmate being questioned.\n\nSHOT TEXT (authoritative, Korean): 덩치 큰 남성 재소자(한국인) 쪽으로 상체를 바짝 기울인 채 두 눈을 번쩍 뜬 서의용의 얼굴 클로즈업.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From just behind and beside the 덩치 큰 남성 재소자(한국인)'s shoulder, complete the dolly-in at seated shoulder height on 서의용's three-quarter face. 서의용 fills most of the frame as he pitches his torso toward the inmate with widened eyes fixed on him, while a narrow near-edge strip of the inmate's shoulder preserves the source of the revelation.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 서의용 in the middle-center of the frame, midground, looks toward large inmate at the near edge; large inmate at the near edge in the middle-right of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 면담실 테이블 (Positioned between the two seated men) — Its edge crosses below the close view, separating 서의용 from the inmate; used as Supplies a narrow lower boundary beneath 서의용's forward lean; 좁은 면담실 내부 (Occupied by 서의용 and the inmate); used as Provides minimal spatial enclosure around the close reaction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L32B02.png" ], [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/db56c246-9e18-495e-93ed-50f743e86dc7.png" ] ], "asset_id": "681ef9c0-35f9-4c12-86ce-03adfbe035d7" }, "S56sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S56sh4.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Outside on the quiet street directly in front of the coffeehouse entrance, beside the stopped scooter.\n\nSHOT TEXT (authoritative, Korean): 신경희의 눈앞으로 신분증을 바짝 뻗어 내민 서의용의 손 클로즈업.\n\nCARRIED STATE (persist exactly): Euiyong holds his police identification out directly in front of Shin Gyeong-hui.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Close beside 신경희 at face height, finish the diagonal dolly-in on 서의용's hand holding the identification card directly before her eyes. The card and fingers occupy the center while a partial profile of 신경희 remains at one edge, her gaze locked on the displayed face of the card rather than the camera.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 서의용의 신분증 (Held out in immediate view) — The identification face is turned directly toward 신경희 and remains obliquely visible to the camera; used as Primary focal object positioned between 서의용's hand and 신경희's eyes; 다방 입구 (신경희 is attempting to move toward it) — Only an entrance-side edge remains behind 신경희; used as Provides a narrow contextual edge indicating that the confrontation occurs outside the entrance.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/db56c246-9e18-495e-93ed-50f743e86dc7.png" ] ], "asset_id": "5431d02b-6207-48dc-90a1-726f8f91c042" }, "S56sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S57sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S57sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S58sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S58sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L50B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside a cramped bedroom in the suspect’s family home, among the bed, wardrobe, and boxes being searched.\n\nSHOT TEXT (authoritative, Korean): 지국현의 본가 방 안, 입을 크게 벌린 채 몸을 비틀어 뻗은 유경자의 양팔을 단단히 붙잡은 검찰 수사관의 전신.\n\nCARRIED STATE (persist exactly): The search of Ji Guk-hyeon's family room continues while the investigator firmly restrains Yu Gyeong-ja; letters, notebooks and photographs are being gathered into the evidence box.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track obliquely from near the room entrance at chest height, briefly holding a wide full-body view as 유경자 twists across the left half and 검찰 수사관 braces on the right with both of her arms secured. Their opposing weight creates a diagonal through the confined room, while the bed, wardrobe, searched boxes, and evidence collection remain legible behind them without turning the struggle frontal.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 유경자 in the middle-left of the frame, midground; 검찰 수사관 in the middle-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 침대 (Being searched by the investigators) — Its long side is seen obliquely behind 유경자; used as Provides a visible search area behind the restrained pair; 옷장 (Being searched by the investigators) — Its front faces diagonally toward the camera; used as Marks one of the room's searched corners in the background; 잡동사니 상자들 (Being searched) — Different sides and top openings appear at varied angles around the room; used as Creates irregular background spacing and shows the breadth of the search; 증거물 상자 (Receiving letters, notebooks, and photographs) — The upper opening is visible from the camera's oblique position; used as Visible deeper in the room as the collection destination toward which the track will continue.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L50B01.png" ], [ "char:검찰 수사관", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/fac56a80-0231-4cd7-963f-a2c999336d17.png" ], [ "char:유경자", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/9f517c4f-af98-4fa8-83f3-d952401ada24.png" ] ], "asset_id": "91b538cb-1b91-4667-8cc8-72a43678c251" }, "S58sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S58sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S59sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S59sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S60sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S60sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L51B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside a softly lit cocktail bar, at adjacent counter seats directly opposite the bartender and liquor service area.\n\nSHOT TEXT (authoritative, Korean): 조명 불빛이 은은한 칵테일바, 바텐더를 앞에 둔 테이블에 나란히 앉아 마주 보는 전택수와 장원섭의 상체.\n\nCARRIED STATE (persist exactly): Taksu and Wonseop remain at the bar with their liquor glasses in front of them. Taksu's worn wallet and black-and-white photograph remain in his possession.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin on the bartender's side of the bar at the seated men's chest height, pushing slowly into an oblique three-quarter composition with 전택수 on the left and 장원섭 on the right, both turned toward each other while remaining side by side at the counter. The 바텐더 occupies a separate plane opposite them near the frame edge, looking down at his work as the men's disagreement becomes the central line of attention.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 전택수 in the middle-left of the frame, midground; 장원섭 in the middle-right of the frame, midground; 바텐더 in the lower-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 바 카운터 (Separates the seated men from the bartender) — Its customer-facing edge runs across the lower frame while the bartender's side recedes beyond it; used as Runs laterally through the frame and establishes the men's side-by-side seating opposite the bartender; 스트레이트잔 (Set on the counter before the seated men); used as Small-scale foreground context between the men without obscuring their torsos.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L51B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ], [ "char:장원섭", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/fe1611e0-e000-4fa7-b7f9-4cce322e265d.png" ] ], "asset_id": "d34708c6-c837-4e99-a880-3aad15cfd87a" }, "S60sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S60sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S61sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S61sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S61sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S62sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S62sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L52B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the compact prosecution-building elevator at its closing doorway, among fixed controls and tightly bounded standing positions.\n\nSHOT TEXT (authoritative, Korean): 닫히려는 엘리베이터 좁은 문틈 사이로 다급하게 한쪽 어깨와 상체를 밀어 넣은 mid-action 자세의 장원섭 전신.\n\nCARRIED STATE (persist exactly): Wonseop forces himself through the closing elevator doors before they can shut.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the corridor side at a lowered waist-height angle, the static wide frame favors the narrowing elevator gap while preserving 장원섭's full body. He is caught mid-entry at center, one shoulder wedged between the closing doors, his trailing foot still in the corridor and his attention fixed into the elevator.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 장원섭 in the middle-center of the frame, midground, moves toward elevator interior; narrowing elevator doorway in the middle-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 엘리베이터 문 (Closing) — The corridor-facing sides of both door panels angle toward the camera around the shrinking gap; used as Creates the narrow vertical opening around 장원섭's entering body; 지검 복도 (Visible outside the elevator); used as Provides the depth behind 장원섭's trailing foot and confirms that he is entering from outside.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L52B01.png" ], [ "char:장원섭", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/fe1611e0-e000-4fa7-b7f9-4cce322e265d.png" ] ], "asset_id": "5a092ddd-c7ea-4fd7-8a14-497345763761" }, "S62sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S62sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L52B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the compact elevator cabin beside the open doors and control panel, facing the corridor outside.\n\nSHOT TEXT (authoritative, Korean): 활짝 열린 엘리베이터 문밖 복도를 배경으로, 나란히 선 채 서로를 팽팽하게 마주 보는 장원섭과 차장검사의 전신.\n\nCARRIED STATE (persist exactly): The elevator doors stand open behind Wonseop and the chief prosecutor as they remain facing each other, before the doors close again.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Near the rear of the elevator at upper-chest height, the completed retreat resolves into a slightly offset wide frame holding both men full length against the open doorway. 장원섭 occupies the left and 차장검사 the right, their feet planted at subtly different depths and their torsos turned toward each other, while the corridor remains visible between and beyond them.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 장원섭 in the middle-left of the frame, midground, looks toward 차장검사; 차장검사 in the middle-right of the frame, midground, looks toward 장원섭; open elevator doorway and corridor in the middle-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 엘리베이터 문 (Fully open) — The interior-facing sides are visible at both lateral edges of the open doorway; used as Frames both men and opens the composition behind their standoff; 지검 복도 (Visible through the open doors); used as Provides unobstructed background depth beyond the motionless confrontation; 엘리베이터 내부 (Occupied by 장원섭 and 차장검사) — The rear camera position reveals the interior sides around both men; used as Confines the two full figures within the elevator while preserving their opposing axis.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L52B01.png" ], [ "char:장원섭", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/fe1611e0-e000-4fa7-b7f9-4cce322e265d.png" ], [ "char:차장검사", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/74482473-59e3-41e0-823a-34df0ac37b7d.png" ] ], "asset_id": "879e779b-3d2b-4331-babe-2774987da4db" }, "S63sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S63sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L53B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the prison visitation room at the transparent partition separating the inmate and visitor seats.\n\nSHOT TEXT (authoritative, Korean): 신경희의 손바닥이 희미하게 비치는 가림판 반대편 위로 자신의 손바닥을 정확히 포개 얹은 지국현의 손 클로즈업.\n\nCARRIED STATE (persist exactly): Ji Guk-hyeon keeps his palm aligned over Shin Gyeong-hui's hand on the opposite side of the transparent partition.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At hand height on 지국현's side, the camera finishes its downward tilt in a close lateral view of the aligned palms against the transparent partition. 지국현's hand enters from the near right and rests precisely over 신경희's faintly visible hand on the far left, with enough surrounding partition retained to make their physical separation unmistakable.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 투명한 플라스틱 가림판 (Positioned between the two visitors) — 지국현's near palm is seen against the surface while 신경희's palm remains faintly visible directly beyond it; used as Separates the two hands physically while allowing their exact visual overlap.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L53B01.png" ], [ "char:지국현", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/8ebee746-d6c8-4161-9672-43f448108647.png" ], [ "char:신경희", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/863caabb-6408-4f7c-8cee-b6c10f9fb23b.png" ] ], "asset_id": "da9efae5-3070-43da-9491-f24abaeb1360" }, "S63sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S64sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S64sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S65sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S65sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L28B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Outside at the prosecution office’s main gate, in the open forecourt occupied by the picket line under midday sun.\n\nSHOT TEXT (authoritative, Korean): 지검 정문 앞에서 '무혐의' 글귀가 적힌 낡은 피켓을 머리 위로 번쩍 치켜든 중년 남성 목사(한국인)의 전신.\n\nCARRIED STATE (persist exactly): Pastor Kim holds one of the protest placards demanding that Ji Guk-hyeon be cleared, raised above his head.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At waist height on the pastor's front three-quarter side, the dolly-in finishes on a vertically generous wide frame containing both his full body and the raised picket. 중년 남성 목사 braces near center with both arms extended overhead, the worn sign held in the upper third, while the prosecution office entrance and portions of the non-uniform protest line remain behind him for scale.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 무혐의 피켓 (Held overhead) — The worn front face turns toward the camera with the word '무혐의' visible; used as Raised above the pastor as the principal textual declaration, remaining proportionate to his body; 광주지검 정문 (Protest taking place in front) — Its exterior entrance side faces the camera behind the pastor; used as Establishes the location behind the protest without becoming the primary subject; 피켓 시위 대열 (Roughly ten church members holding protest placards) — The line extends laterally across the entrance area behind the pastor; used as Provides collective context behind and beside the pastor; individuals vary naturally in weight distribution, head angle, grip height, and spacing rather than repeating one pose.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L28B01.png" ], [ "char:중년 남성 목사", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/056f2c29-751f-42dc-bc9b-6f7b2855dc5b.png" ] ], "asset_id": "36d0083d-c6b9-4c6c-ac1f-8a9e3d52000c" }, "S65sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S66sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S66sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S67sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S67sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L55B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the corridor directly outside the prosecution seminar room, at the narrow viewing window in its closed door.\n\nSHOT TEXT (authoritative, Korean): 굳게 닫힌 세미나실 문 앞, 문에 달린 좁고 긴 투명 유리창 쪽으로 얼굴을 바짝 가져다 댄 차장검사의 상체.\n\nCARRIED STATE (persist exactly): The seminar-room door remains closed while the chief prosecutor peers through its narrow window.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin the inward move at shoulder height close behind the 차장검사's rear three-quarter side, composing his upper body on the left and the narrow door window beside his face on the right. He braces slightly toward the closed door and cranes his neck close to the window, looking through it into the seminar room rather than toward the camera.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 차장검사 in the middle-left of the frame, foreground, looks toward narrow door window; narrow door window in the middle-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: narrow door window (Set into the closed seminar-room door) — The transparent pane is viewed obliquely, with the seminar-room interior lying beyond it; used as Observation aperture positioned directly beside the prosecutor's face; seminar-room door (Closed) — Its corridor-facing side is visible at an oblique angle; used as Spatial barrier framing the act of covert observation.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L55B01.png" ], [ "char:차장검사", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/74482473-59e3-41e0-823a-34df0ac37b7d.png" ] ], "asset_id": "fcc85f08-0cc7-41da-b8e1-35661e8cafc0" }, "S68sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S68sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S69sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S69sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L56B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the prosecution briefing room at the press podium facing rows of reporters and cameras.\n\nSHOT TEXT (authoritative, Korean): 기자석을 향해 꼿꼿한 자세로 서서 확신에 찬 단호한 표정으로 입을 벌린 차장검사의 정면.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At the 차장검사's eye height directly beyond the podium, hold a static medium-close view on the briefing axis, with his upper body centered but his attention directed past the lens toward the reporters. He keeps his torso rigid at the podium, opens his mouth on the emphasized phrase, and sets his jaw as intermittent press flashes register across his face.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: podium (In use for the briefing) — Its front side faces the camera while the prosecutor occupies the position behind it; used as Lower-frame anchor establishing the formal press statement position.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L56B01.png" ], [ "char:차장검사", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/74482473-59e3-41e0-823a-34df0ac37b7d.png" ] ], "asset_id": "344eb232-81a9-45b6-99e4-543514c6388f" }, "S69sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S70sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S71sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S71sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L02B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Just inside the old restaurant’s sliding entrance door, opening onto the empty dining room.\n\nSHOT TEXT (authoritative, Korean): 낡은 자매식당 안, 미닫이문 손잡이를 꽉 쥔 채 식당 안으로 한쪽 발을 내디딘 전택수의 전신.\n\nCARRIED STATE (persist exactly): Taksu holds the sliding door open as he steps into the empty restaurant; his worn wallet and black-and-white photograph remain in his possession.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From deep inside the empty dining area at a slightly elevated height, begin the dolly-in with a diagonal wide view toward the open sliding door, holding 전택수 full-length in the right background as one foot crosses the threshold and his hand grips the handle. 심옥 remains seated in the left midground beside the television, turning sharply from it toward 전택수; their reciprocal eyelines span the unoccupied tables without either looking toward the camera.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 전택수 in the middle-right of the frame, background, moves toward restaurant interior; 심옥 in the middle-left of the frame, midground, looks toward 전택수 at the doorway; open sliding doorway in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: sliding door (Open) — The interior-facing side and the opened passage are visible diagonally from deep inside the restaurant; used as Background entry frame holding 전택수's halted arrival; television (On while 심옥 watches it) — The screen face is angled primarily toward 심옥 and only obliquely toward the camera; its specific content is indistinct; used as Background source of 심옥's interrupted attention; dining tables (Unoccupied) — Table edges recede diagonally from the foreground toward the doorway; used as Depth markers emphasizing the otherwise empty dining area between the two characters.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L02B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ] ], "asset_id": "50fd737c-cd23-4649-ab37-ab57eb415598" }, "S71sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S71sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S72sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S73sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S73sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L59B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the courtroom in the public gallery, among the sparsely occupied spectator benches.\n\nSHOT TEXT (authoritative, Korean): 괴로운 듯 두 손으로 얼굴을 감싼 채 고개를 푹 숙인 심옥(선영의 엄마)의 상체.\n\nCARRIED STATE (persist exactly): The victim's autopsy photographs remain displayed on the courtroom screen while Sim-ok lowers her head in distress.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the side aisle slightly above seated head height, the forward move ends in a tight upper-body view of 심옥 folded into the lower-right portion of the frame. Her bowed head and both hands obscure most of her face, while sparse gallery seating remains softly legible behind her and the aisle preserves the impending route toward the courtroom front.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 심옥 in the lower-right of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: gallery seating (Sparsely occupied) — Seat rows recede diagonally across the background from the side-aisle viewpoint; used as Provides restrained courtroom context behind the isolated grieving figure; side aisle (Open between the seating and courtroom front); used as Maintains the forward spatial route into the next camera stage.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L59B02.png" ], [ "char:심옥", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/73ba7526-a6cb-4eae-b894-dc26d9f3b12c.png" ] ], "asset_id": "fa62de67-b73a-4458-8186-67875623fcb2" }, "S73sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S73sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S74sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S74sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S74sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S75sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S75sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S76sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S76sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L61B01.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the provincial police headquarters’ large conference hall, at the center of the officials’ stage beneath the event banner.\n\nSHOT TEXT (authoritative, Korean): 단상 가운데 앉아 마이크에 바짝 입을 대고 입을 벌린 중년 남성(한국인)의 상체.\n\nCARRIED STATE (persist exactly): Taksu remains in his formal police uniform at the field meeting; his worn wallet and black-and-white photograph remain in his possession.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From seated chest height near the stage, frame the middle-aged man in a medium close three-quarter view roughly thirty degrees off his speaking axis, with his mouth close to the microphone and his upper body centered beneath a partial view of the banner. Keep the surrounding officials soft and peripheral as the camera holds at the opening position, poised to dolly backward into the aisle.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 현장간담회 현수막 (Hung above the stage) — The printed front faces the audience and is seen obliquely above the speaker, with part of the stated police-and-citizen slogan legible; used as Partial upper-background context identifying the formal event without competing with the speaker; 마이크 (Positioned close to the speaker) — Its speaking end is directed toward the seated man's open mouth and appears in near profile to the camera; used as Immediate speaking prop aligned between the camera and the speaker's mouth; 정복 차림 경찰 간부들 (Seated stiffly around the provincial police chief); used as Soft peripheral figures reinforcing the rigid procedural atmosphere.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L61B01.png" ] ], "asset_id": "355a3936-dcb2-4d9d-824a-fd6247d01c32" }, "S76sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S77sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S77sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L62B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the corridor directly outside the provincial police conference hall, away from the ongoing meeting.\n\nSHOT TEXT (authoritative, Korean): 멈춰 서서 미간을 찌푸린 채 허공을 응시하는 전택수의 측면.\n\nCARRIED STATE (persist exactly): Taksu remains in formal police uniform and keeps the smartphone at his ear during Wonseop's call. His worn wallet and photograph remain in his possession.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Settle statically just above 전택수's eye level at medium-close distance on his side, holding a clean profile with open corridor space extending along his unfixed gaze. Catch him at the instant his forward step has stopped, the phone still at his ear while his tightened brow carries the weight of what he has heard.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 대회의실 앞 복도 (Extends outside the conference hall during the call); used as Open negative space along 전택수's gaze line, isolating his pause from the meeting room.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L62B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ] ], "asset_id": "a9fae7a2-9b70-42bf-8699-7265c8c9c696" }, "S78sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S78sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L63B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Outside on the roadside opposite the kindergarten entrance, where the two officers stand watching the departing bus area.\n\nSHOT TEXT (authoritative, Korean): 길 건너편에 나란히 서서 이미경을 응시하는 서의용과 전택수의 전신.\n\nCARRIED STATE (persist exactly): Taksu is still wearing the formal police uniform from the meeting; his worn wallet and black-and-white photograph remain in his possession.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From waist height beside 이미경 on the kindergarten side, complete the diagonal pan across the road and settle on 서의용 and 전택수 in a medium-long full-body frame. Place them side by side across the middle of the image with slight natural differences in weight and shoulder angle; both look past the lens position toward 이미경, while 전택수's police uniform makes his presence more formally imposing.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 서의용 in the middle-left of the frame, midground, looks toward 이미경 across the road; 전택수 in the middle-right of the frame, midground, looks toward 이미경 across the road; road separating 이미경 from the two men in the lower-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 유치원 앞 도로 (Separates the kindergarten side from 서의용 and 전택수); used as Visible spatial separation between 이미경's side and the two waiting men; 길 건너편 (Occupied by 서의용 and 전택수 standing side by side); used as Location context behind the two men after the pan lands.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L63B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ], [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/db56c246-9e18-495e-93ed-50f743e86dc7.png" ] ], "asset_id": "1c266505-91c4-44e0-a53c-eb184a6e19cb" }, "S78sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S79sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S79sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L64B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Outside at one side of the kindergarten playground, apart from the children’s active play area.\n\nSHOT TEXT (authoritative, Korean): 스마트폰 화면 속 사진을 들여다보며 동공이 커진 이미경의 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Mi-gyeong holds Taksu's smartphone and looks at the same dated alibi photograph; Taksu remains in formal police uniform and retains his wallet and black-and-white photograph.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At 이미경's face height, finish the dolly-in beside the offered smartphone at a close three-quarter angle, keeping her widened eyes and fixed downward attention as the dominant subject. Her face occupies most of the frame while the phone and the fingers supporting it remain a modest lower-foreground element, with enough of the displayed photograph visible to connect cause and reaction.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 이미경 in the middle-center of the frame, midground, looks toward alibi photograph on smartphone; smartphone showing alibi photograph in the lower-left of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 스마트폰 화면 (Displaying the alibi photograph) — The front display faces upward between 이미경 and the camera, showing the 2001 alibi photograph with 지국현 while remaining smaller than her face; used as Lower-foreground evidence cue linking the photograph to 이미경's shock; 유치원 놀이터 (The three-person conversation is taking place at one side of it); used as Soft contextual background that keeps the meeting within the kindergarten grounds.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L64B01.png" ], [ "char:이미경", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/5a8449d6-b814-472f-b1d7-652fa89c6bbf.png" ] ], "asset_id": "ec3f3aee-00a6-47a0-88b2-80a1fe85cd92" }, "S79sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S80sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S80sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S81sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S81sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L23B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the book-lined forensic research office at the window, with the dark night glass reflecting the investigator.\n\nSHOT TEXT (authoritative, Korean): 책이 빼곡한 연구실 창가, 어두운 유리창에 비친 자신의 얼굴을 물끄러미 응시하는 전택수의 상체.\n\nCARRIED STATE (persist exactly): The castle snow globe remains beside the laboratory window before Taksu picks it up; his worn wallet and black-and-white photograph remain in his possession.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From chest height several steps behind and to the side of 전택수, continue the slow dolly-in toward his motionless upper body and the dark window, composing his three-quarter rear figure on the right and his reflected face on the left. His eyes remain absorbed in his own reversed reflection rather than the lens, while the book-filled room recedes around the paired real and reflected forms.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 전택수 in the middle-right of the frame, midground, looks toward his reflection in the window; window reflecting 전택수 in the middle-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: 어두운 유리창 (Dark at night and reflecting 전택수) — The window reflects 전택수's face with lateral reversal while his physical upper body remains visible beside it; used as Reflective counter-image that externalizes 전택수's isolated self-scrutiny; 책이 빼곡한 책장 (Filled densely with books) — Book spines face into the room and appear as layered background rows behind 전택수; used as Dense research-room context framing his isolation without becoming the focus; 스노우볼 (Placed beside the window); used as Small transition cue near the window for the camera's next move.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L23B03.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ] ], "asset_id": "40d3f501-941f-41a1-9ed7-e48b17b41b25" }, "S81sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S81sh18": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S82sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S82sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/background_chain/seed_bg_nearby_bus_stop_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Outside beside the kindergarten-area bus shelter, on the rain-soaked street where the investigator approaches with an umbrella.\n\nSHOT TEXT (authoritative, Korean): 이미경을 향해 커다란 우산을 앞으로 뻗은 채 한쪽 다리를 내딛고 멈춰 선 전택수의 전신.\n\nCARRIED STATE (persist exactly): Taksu carries the large umbrella toward Mi-gyeong and extends it to shelter her; his worn wallet and black-and-white photograph remain in his possession.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: The lateral track settles just beyond the bus shelter opening at hip height, holding 전택수 in full figure on the right three-quarter axis as his planted front foot arrests his approach. His extended umbrella crosses the middle of the wide frame toward 이미경 at the opposite edge, and both remain absorbed in the tentative offer rather than the lens.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 전택수 in the middle-right of the frame, midground, reaches for 이미경 with the offered umbrella; 이미경 in the middle-left of the frame, midground, looks toward 전택수 offering shelter.\n- KEY BACKGROUND ELEMENTS: bus shelter (Providing cover from the shower) — The shelter opening faces diagonally toward the camera, with 이미경 remaining just inside it; used as Frames 이미경 at one edge and marks the threshold crossed by 전택수’s extended umbrella; large umbrella (Open and extended toward 이미경) — Its open canopy is angled toward 이미경 while 전택수 holds it from the opposite side; used as Bridges the physical gap between the two characters across the middle of the frame; rainfall (A sudden shower is falling); used as Visible environmental action around the shelter and figures.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/background_chain/seed_bg_nearby_bus_stop_sel.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ] ], "asset_id": "dda755f0-4568-4b14-abf0-bcf74c555429" }, "S82sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S83sh7": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S83sh7.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L66B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Outside at the kindergarten’s covered entrance threshold after the rain has begun to ease.\n\nSHOT TEXT (authoritative, Korean): 이미경 쪽으로 몸을 완전히 돌린 채 멋쩍게 입꼬리를 올린 전택수의 정면.\n\nCARRIED STATE (persist exactly): The rain has subsided at the kindergarten entrance, and Taksu still has the umbrella with him along with his worn wallet and photograph.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From just behind and beside 이미경’s shoulder at eye level, the track settles into a close, slightly off-axis near-frontal view of 전택수 as he finishes turning back. His awkward half-smile sits near frame center with modest space toward 이미경, whose shoulder remains a soft foreground edge anchoring the exchange.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: kindergarten entrance (The two characters have arrived beside it) — The entrance is seen obliquely behind the conversational axis; used as Provides a soft location cue behind 전택수 without pulling attention from his hesitant smile.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L66B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ] ], "asset_id": "fa229eb2-c62c-4014-887e-4c5254fe1791" }, "S83sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S83sh15": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S84sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S85sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S85sh19": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S85sh23": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S86sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S86sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S87sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S87sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S87sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S88sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S88sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S88sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S89sh9": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S89sh9.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L59B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the courtroom at the defendant’s table during the sentencing hearing.\n\nSHOT TEXT (authoritative, Korean): 피고인석에 꼿꼿한 자세로 앉아 무표정하게 앞을 응시하는 지국현의 상체.\n\nCARRIED STATE (persist exactly): Ji Guk-hyeon remains seated rigidly at the defendant's table for the verdict.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From beside the defendant’s table at slightly below seated shoulder height, hold a static close-medium three-quarter view across 지국현 toward the bench. He occupies the left-center with an unnaturally rigid seated posture and an expressionless gaze fixed ahead, while 지국현의 변호인 remains smaller at the right edge with head lowered, preserving the contrast without widening into a balanced two-shot.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 피고인석 테이블 (occupied by 지국현 and 지국현의 변호인) — Its long edge crosses the lower frame obliquely toward the judge’s direction; used as The near edge anchors both defendant and counsel while providing the lateral axis toward the bench; 재판장석 (occupied during sentencing) — Its front is seen obliquely beyond 지국현 rather than straight on; used as Kept subdued in the background along 지국현’s forward eyeline.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L59B02.png" ], [ "char:지국현", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/8ebee746-d6c8-4161-9672-43f448108647.png" ] ], "asset_id": "9b097e04-2c7b-496c-8909-eed92f799e11" }, "S89sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S89sh15": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S90sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S90sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L06B01.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the moving car’s passenger cabin, looking through the window onto a candlelit crowd lining and filling the road.\n\nSHOT TEXT (authoritative, Korean): 해질녘 거리, 촛불을 든 채 도로 가장자리를 가득 메운 군중들(한국인 남녀) 전경.\n\nCARRIED STATE (persist exactly): The candle-bearing crowd continues to fill the road as Taksu's car moves slowly among them; his worn wallet and photograph remain in his possession.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From high above the road edge, the crane completes its rise into a wide oblique view along the roadway, assigning most of the frame to Korean men and women carrying candles while 전택수's moving car remains small at one edge. The walkers are visibly asynchronous—different feet forward, uneven intervals, varied shoulder and head angles—yet all continue the same slow procession around the car.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: city roadway (filled by the slow-moving gathering); used as The roadway establishes the gathering's breadth and leads the eye through the oblique frame; handheld candles (lit and carried by participants); used as Individual candle points articulate the crowd without turning the people into a uniform pattern; 전택수's car (moving slowly through the crowd) — Seen obliquely from above as it travels along the roadway; used as The car provides a small moving scale reference at the frame periphery.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L06B01.png" ] ], "asset_id": "76e1e467-9be0-457b-be64-be08e4717fca" }, "S90sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S90sh8.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L06B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the car’s rear passenger compartment, beside the window reflecting candlelight from the street outside.\n\nSHOT TEXT (authoritative, Korean): 촛불 불빛이 비치는 차창에 기대어 손등으로 눈물을 훔쳐내는 심옥(선영의 엄마)의 측면.\n\nCARRIED STATE (persist exactly): Sim-ok remains in the rear seat beside Min-jung, with candlelight passing across the window as she wipes away tears. Taksu retains his worn wallet and photograph.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Inside the rear seat, the static camera sits slightly below 심옥's eye line and close beside her, framing her profile on the left against the side window on the right. Her hand and cheek receive the tightest emphasis as her knuckles cross beneath one eye to wipe away a tear, while she remains absorbed in the candles passing beyond the glass.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 심옥 in the middle-left of the frame, foreground, looks toward candle-bearing crowd beyond the side window; side window in the middle-right of the frame, midground; passing candle-bearing crowd in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: rear side window (between the rear seat and the outside gathering) — 심옥 is seen beside the glass, with the candle-bearing crowd passing beyond it; used as The window places 심옥's profile against the procession and preserves her outward gaze; passing candles (lit and moving with the crowd); used as Small moving points beyond the window provide the object of her attention.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/episodes/950be69d-7139-4294-80fd-3f15949295c7/images/background_chain/L06B02.png" ], [ "char:심옥", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/73ba7526-a6cb-4eae-b894-dc26d9f3b12c.png" ] ], "asset_id": "c393874f-811d-4c2a-9d7c-4050147855a1" }, "S91sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S91sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Outside in the columbarium parking area, on the pedestrian route leading from the car toward the building.\n\nSHOT TEXT (authoritative, Korean): 두 손으로 심옥(선영의 엄마)의 오른손을 꽉 감싸 쥔 채 미안함이 담긴 눈빛으로 고개를 숙인 전택수의 상체.\n\nCARRIED STATE (persist exactly): Taksu encloses Sim-ok's right hand in both of his hands while Min-jung stands with them. His worn wallet and black-and-white photograph remain in his possession.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At chest height within arm's reach, the dolly ends off 전택수's three-quarter side and tilts down enough to hold his bowed face, upper torso, and both hands wrapped around 심옥's right hand. He occupies the left-center while her partial profile, shoulder, and extended arm remain at the right edge, making the joined hands the shared lower-center anchor as he looks down in apology.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 전택수 in the middle-left of the frame, midground, reaches for 심옥's right hand; 심옥 in the middle-right of the frame, foreground, reaches for 전택수's enclosing hands.\n- KEY BACKGROUND ELEMENTS: charnel house parking area (the location of the farewell); used as The parking area remains soft and secondary behind the farewell gesture; approach to the charnel house (leading away from the group); used as The route toward the charnel house recedes behind 심옥 and indicates where she and 민정 were heading.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ], [ "char:심옥", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/73ba7526-a6cb-4eae-b894-dc26d9f3b12c.png" ] ], "asset_id": "2175ef13-6231-433d-b2e3-ac70c35d74fc" }, "S91sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S92sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/conti/conti_S92sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Outside on the quiet riverbank at sunset, standing above the water’s edge.\n\nSHOT TEXT (authoritative, Korean): 해질녘 붉게 물든 드들강 변, 강물 수면을 내려다보는 전택수의 뒷모습 전신.\n\nCARRIED STATE (persist exactly): Taksu remains alone at the riverbank with his car nearby, carrying the worn wallet and black-and-white photograph.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From a slightly elevated long distance behind 전택수, the static wide frame places his full back-facing figure below center and looks down past him toward the river. His feet are planted at the bank and his head inclines toward the water, leaving the surrounding riverside open to stress his solitude without changing the established rear axis.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 드들강 (viewed from the riverbank); used as The river extends beyond 전택수 as the destination of his downward gaze and the principal depth plane; riverside (quiet with 전택수 alone); used as The sparsely occupied bank provides scale around his isolated full figure.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/fdc5f9f0-ee7b-4ac9-ac43-5d8d979664a3/images/950be69d-7139-4294-80fd-3f15949295c7/reference/236ad51d-3440-4b1e-a146-08efc06fb126.png" ] ], "asset_id": "6cb56acb-9f0b-4e3e-b1cf-b1147a594854" }, "S92sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S93sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S93sh4": { "image_path": null, "plate_path": null, "prompt": null, 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