{ "groups": [ { "key": "dense_forest_incident_site", "name_ko": "우거진 숲 사건 현장", "place_en": "A dense forest clearing enclosed by tangled shrubs, mature tree trunks, and uneven leaf-covered ground. A narrow, barely visible path cuts through the undergrowth.", "shots": [ "S1sh1", "S1sh4", "S3sh3" ] }, { "key": "dim_city_back_alley", "name_ko": "어두운 도시 뒷골목", "place_en": "A narrow urban back alley bordered by worn masonry walls and utility poles. A single weak streetlamp casts patchy light over the confined pavement.", "shots": [ "S2sh1", "S2sh3" ] }, { "key": "rooftop_room_exterior", "name_ko": "옥상·옥탑방 외부", "place_en": "The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof.", "shots": [ "S4sh1", "S10sh6", "S10sh7", "S11sh5", "S17sh2" ] }, { "key": "rooftop_room_interior", "name_ko": "옥탑방 내부", "place_en": "A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.", "shots": [ "S5sh5", "S5sh9", "S12sh11", "S12sh18", "S12sh21", "S14sh5", "S14sh7", "S14sh11", "S18sh11", "S18sh15", "S18sh16", "S25sh1", "S25sh5", "S25sh9", "S27sh3" ] }, { "key": "coastal_road", "name_ko": "해안도로", "place_en": "A paved coastal road running beside an exposed tidal shoreline, with the sea visible along one side and sparse roadside barriers. The route remains open and windswept, with few nearby buildings.", "shots": [ "S6sh1", "S9sh1", "S24sh2" ] }, { "key": "dog_shelter_interior", "name_ko": "유기견 보호원 내부", "place_en": "A utilitarian indoor animal shelter with a hard washable floor, kennel partitions, and plain institutional walls. The space is lit evenly and provides open floor area beside the enclosures.", "shots": [ "S7sh3", "S7sh6" ] }, { "key": "supermarket_sales_floor", "name_ko": "대형마트 매장", "place_en": "A brightly lit supermarket sales floor with long merchandise aisles, stocked shelving, and broad customer walkways. Overhead fluorescent fixtures create flat, even illumination.", "shots": [ "S8sh3" ] }, { "key": "supermarket_exterior_entrance", "name_ko": "대형마트 외부", "place_en": "The exterior frontage of a large supermarket, centered on wide public entrance doors and a paved forecourt. A wall-mounted CCTV camera overlooks the entrance area.", "shots": [ "S8sh5", "S19sh5", "S19sh6" ] }, { "key": "exterior_metal_staircase", "name_ko": "외부 철제계단", "place_en": "A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof.", "shots": [ "S11sh4" ] }, { "key": "residential_alley_courtyard", "name_ko": "빌라 골목·마당", "place_en": "A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space.", "shots": [ "S13sh4", "S13sh6" ] }, { "key": "seaside_bus_stop", "name_ko": "해안가 버스정류장", "place_en": "A roadside bus stop on an open coast, with a paved waiting area and an unobstructed view of the sea. The surrounding road shoulder is broad enough for people to stand or run beside the shelter.", "shots": [ "S15sh2", "S15sh6" ] }, { "key": "police_office_interior", "name_ko": "경찰서 사무실", "place_en": "A functional police office with clustered desks, computer monitors, paperwork, and a clearly visible exit door. The room is arranged as an open administrative workspace under institutional lighting.", "shots": [ "S16sh3", "S21sh7", "S21sh10", "S21sh12" ] }, { "key": "supermarket_admin_office", "name_ko": "마트 총무과", "place_en": "A compact back-office inside a supermarket, furnished with desks, computer monitors, and security equipment. The workstation is used to review surveillance footage away from the public sales floor.", "shots": [ "S20sh1", "S20sh3" ] }, { "key": "police_station_exterior_road", "name_ko": "경찰서 앞 도로", "place_en": "A paved urban road directly outside a police station, with the institutional building facade bordering the street. The curbside lane provides a clear route past the entrance.", "shots": [ "S22sh1" ] }, { "key": "dark_pc_cafe_interior", "name_ko": "어두운 PC방", "place_en": "A dark internet cafe lined with closely spaced computer desks, high-backed chairs, and glowing monitors. Most ambient light comes from the screens and small ceiling fixtures.", "shots": [ "S23sh1", "S23sh4" ] }, { "key": "foggy_harbor_rocks", "name_ko": "안개 낀 포구", "place_en": "A small foggy harbor where dark tidal rocks meet a simple mooring edge. Fixed features include a stout mooring post, thick anchor ropes, and a landing point for small fishing boats.", "shots": [ "S26sh2", "S26sh5", "S26sh9" ] }, { "key": "small_fishing_boat_deck", "name_ko": "소형 어선 갑판", "place_en": "The exposed deck of a small working fishing boat, with low rails, a forward bow area, and a raised wheelhouse. A narrow doorway connects the open deck to the enclosed wheelhouse.", "shots": [ "S28sh5", "S28sh8" ] }, { "key": "fishing_boat_wheelhouse", "name_ko": "어선 조타실", "place_en": "A cramped enclosed wheelhouse aboard a small fishing boat, surrounded by windows and fitted with basic navigation controls. The narrow interior opens directly onto the exterior deck through a single doorway.", "shots": [ "S29sh3", "S29sh4", "S29sh8" ] }, { "key": "open_coastal_sea", "name_ko": "해질녘 바다", "place_en": "An open coastal sea with a broad horizon and no nearby land dominating the view. At sunset, golden light stretches across the water while a dense offshore fog bank forms a distinct wall ahead.", "shots": [ "S30sh1", "S30sh3" ] } ], "movement": { "dense_forest_incident_site": { "S1sh1": { "movement": "A terrified, bleeding Korean man with one shoe missing runs through dense undergrowth, pushing forward with one foot airborne and a strained, injury-compromised gait as he flees through the forest.", "figures": "The man's full body fills roughly ~3/4 of the frame height and is the sole figure, occupying the primary near-to-midground plane; no farther person is visible." }, "S1sh4": { "movement": "A real person appearing as a dark silhouette, with normal human build, has sprinted in from an unspecified direction and is airborne with both arms extended toward the terrified Korean man to tackle him.", "figures": "The airborne silhouette and the man are both prominent, each roughly ~1/2–2/3 of the frame height; the silhouette is closing the remaining distance to the man, but the source does not establish which is nearer to the camera. Their paths converge directly at the impending impact." }, "S3sh3": { "movement": "static: Hyesu stands upright amid the detectives, directing the investigation with her upper body oriented toward one side and one finger pointing that way.", "figures": "Hyesu's upper body fills roughly ~2/3 of the frame height and is the dominant nearer figure, while the surrounding detectives appear smaller or partially framed farther around and behind her. Hyesu remains centered within their group rather than moving through it." } }, "dim_city_back_alley": { "S2sh1": { "movement": "static: A Korean man and a Korean woman stand pressed together against a utility pole under the dim streetlight, their bodies in side profile and oriented toward each other.", "figures": "The exact frame-height fractions are unspecified; the man and woman are comparable-sized, overlapping human figures, with neither discernibly NEARER nor FARTHER than the other, while the utility pole remains directly behind them and is FARTHER from the camera." }, "S2sh3": { "movement": "static: The Korean man holds his mouth wide open with his teeth embedded in the Korean woman's neck, their bodies locked together at the point of the bite.", "figures": "The exact frame-height fractions are unspecified; the man's head and the woman's neck and head are the dominant, tightly overlapping forms, with neither person clearly NEARER or FARTHER because they occupy nearly the same depth and remain in direct contact." } }, "rooftop_room_exterior": { "S4sh1": { "movement": "static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.", "figures": "The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground." }, "S10sh6": { "movement": "The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.", "figures": "The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it." }, "S10sh7": { "movement": "static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.", "figures": "The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths." }, "S11sh5": { "movement": "static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.", "figures": "Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight." }, "S17sh2": { "movement": "The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.", "figures": "The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path." } }, "rooftop_room_interior": { "S5sh5": { "movement": "Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.", "figures": "Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it." }, "S5sh9": { "movement": "static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.", "figures": "The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus." }, "S12sh11": { "movement": "static: lifeless Min-sook is collapsed against the floor in an asymmetric seated slump, her head dropped deeply forward, shoulders fallen, limbs limp, and body weight fully given way.", "figures": "Min-sook's blood-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her." }, "S12sh18": { "movement": "static: lifeless Min-sook's limp hand remains curled tightly around a crumpled photograph, with the photograph exposed toward the camera.", "figures": "The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body lie progressively FARTHER behind it." }, "S12sh21": { "movement": "A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.", "figures": "The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane." }, "S14sh5": { "movement": "static: the excessively tidy bedroom stands empty, with no bloodstains, red wall mark, or collapsed body remaining anywhere in the room.", "figures": "The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty." }, "S14sh7": { "movement": "static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.", "figures": "Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible." }, "S14sh11": { "movement": "static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.", "figures": "Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them." }, "S18sh11": { "movement": "A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.", "figures": "The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection." }, "S18sh15": { "movement": "The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.", "figures": "The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface." }, "S18sh16": { "movement": "static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.", "figures": "Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary." }, "S25sh1": { "movement": "static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.", "figures": "The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room." }, "S25sh5": { "movement": "static: a bloodstained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.", "figures": "The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it." }, "S25sh9": { "movement": "static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.", "figures": "Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers." }, "S27sh3": { "movement": "static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.", "figures": "Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest." } }, "coastal_road": { "S6sh1": { "movement": "Su-ri-young rides laterally along the daytime coastal road, seated upright and smiling as one foot drives a pedal downward, with her hair streaming behind her in the direction opposite her travel.", "figures": "Su-ri-young and the bicycle together fill roughly ~2/3 of the frame height in side view; she is NEARER to the camera than the coastal road and sea behind her, while the bicycle occupies the same foreground plane beneath her." }, "S9sh1": { "movement": "Su-ri-young, a real person appearing as a dark silhouette with normal human build, rides quickly forward along the dark coastal road toward home, leaning her torso into her course as one leg presses a pedal downward and her clothing trails behind.", "figures": "Su-ri-young and her bicycle form a medium-sized silhouette filling about ~1/2 of the frame height; they are NEARER to the camera than the dark road and coast extending FARTHER ahead." }, "S24sh2": { "movement": "Soaked by the downpour, Su-ri-young continues riding forward through the rain, gripping the handlebars tightly and aiming a tense, determined stare ahead as she searches for her mother.", "figures": "Su-ri-young’s wet face fills roughly ~2/3 of the frame height in close-up, with the partially visible handlebars NEARER at the lower foreground and her face just FARTHER behind them; the rain and coastal-road background are FARTHER still." } }, "dog_shelter_interior": { "S7sh3": { "movement": "static: the Rottweiler lies subdued and low against the floor with its ears pinned back, its body facing an unspecified direction.", "figures": "The Rottweiler is the only visible figure; the framing and its exact fraction of frame height are unspecified, and with no other figure present it is the sole depth reference." }, "S7sh6": { "movement": "static: Suriyoung holds a smartphone to her ear and remains in place with a furrowed brow, facing an unspecified direction as she tries to contact Minsook.", "figures": "Suriyoung's face is the dominant visible figure, though its exact fraction of frame height is unspecified; the smartphone is immediately beside her face at essentially the same depth, with neither clearly nearer nor farther." } }, "supermarket_sales_floor": { "S8sh3": { "movement": "static: Su-ri-young stands facing the female supermarket employee at conversational distance, her body turned toward the employee and her mouth slightly open as if speaking.", "figures": "Su-ri-young and the uniformed Korean female employee each fill roughly ~1/2 of the frame height in the side-on two-shot. They stand at approximately the same camera depth, so neither is distinctly NEARER or FARTHER, facing each other across a short gap." } }, "supermarket_exterior_entrance": { "S8sh5": { "movement": "Suriyoung comes out of the supermarket and continues away toward home while looking down at the smartphone held in front of her upper body, trying to make contact as she walks.", "figures": "Suriyoung's upper body fills about ~2/3 of the frame height; the small smartphone is NEARER to the camera in front of her torso, while her face is FARTHER behind it." }, "S19sh5": { "movement": "static: Suriyoung and the male employee stand outside the supermarket with their backs to the camera, bodies oriented toward the wall and heads tilted upward at the CCTV camera.", "figures": "Suriyoung and the male employee each fill roughly ~1/2 of the frame height and stand at a comparable NEARER distance, their paths paused side by side; the small wall-mounted CCTV camera is FARTHER from the camera and above them." }, "S19sh6": { "movement": "static: Suriyoung holds a smartphone to her ear and faces forward, staring straight ahead while calling Hyesu.", "figures": "Suriyoung's upper body fills about ~3/4 of the frame height and is the dominant NEAR figure; the small smartphone beside her face is slightly NEARER to the camera than her head." } }, "exterior_metal_staircase": { "S11sh4": { "movement": "static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.", "figures": "Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs." } }, "residential_alley_courtyard": { "S13sh4": { "movement": "static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.", "figures": "Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source." }, "S13sh6": { "movement": "static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.", "figures": "Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other." } }, "seaside_bus_stop": { "S15sh2": { "movement": "Hye-su extends her hand and the drink can from her side into the space directly in front of Su-ri-young, who remains seated and dazed while facing the sea.", "figures": "Hye-su’s hand and forearm fill roughly ~1/3 of the frame height, with the can small at ~1/8; both are NEARER to the camera, while seated Su-ri-young is FARTHER behind them." }, "S15sh6": { "movement": "Su-ri-young runs away from Hye-su and away from the camera, seen from behind with one foot airborne in mid-stride, while Hye-su remains standing behind her and calls after her.", "figures": "In the wide frame, Hye-su’s full body appears small at roughly ~1/3 of the frame height and is NEARER, while Su-ri-young’s back-facing running figure is FARTHER and smaller at roughly ~1/4. Su-ri-young’s path increases the distance between them as she runs ahead, leaving Hye-su behind." } }, "police_office_interior": { "S16sh3": { "movement": "Hye-su abruptly extends her arm from her position in the office toward Detective Kim, thrusting the smartphone screen with Min-suk's saved number into his viewing space while remaining tensely oriented toward him.", "figures": "Hye-su's outstretched hand and smartphone are NEARER and prominent at roughly ~1/3 of the frame height, while Detective Kim is FARTHER across from her at roughly ~1/2 of the frame height. The phone crosses the space between them but remains in Hye-su's hand." }, "S21sh7": { "movement": "static: Su-ri-young holds rigid with widened eyes and slightly parted lips, her tense, shocked face directed toward what she has just seen.", "figures": "Su-ri-young's face is the sole visible figure, NEAR to the camera and filling roughly ~2/3 to ~3/4 of the frame height; no farther person is visible." }, "S21sh10": { "movement": "static: the monitor displays an ocean map with a red location pin and coordinate numbers, with no physical movement in frame.", "figures": "The monitor image is the sole visible subject and fills nearly the entire frame; the red pin and coordinate text lie on the same NEAR screen plane, with the map visually receding FARTHER only within the displayed graphic." }, "S21sh12": { "movement": "static: Su-ri-young pauses mid-turn inside the office with one hand still in the coat pocket holding the folded note, her tense, guarded body oriented toward the office exit as she prepares to leave.", "figures": "Su-ri-young is NEARER, appearing at roughly ~1/2 to ~2/3 of the frame height, while the office doorway she faces is FARTHER in the background. Her path leads away from her position in the office toward and through that doorway." } }, "supermarket_admin_office": { "S20sh1": { "movement": "static: The Korean male security employee and Hye-su lean tensely forward from in front of the desk toward the computer monitor, keeping their faces and bodies oriented to the CCTV footage.", "figures": "The security employee and Hye-su each fill roughly ~1/2 of the frame height in side view, occupying a comparable near-midground plane, with the slightly overlapping foreground figure NEARER and the other FARTHER; the monitor is smaller and FARTHER than both along their shared line of sight." }, "S20sh3": { "movement": "static: A real person appearing as a faint dark silhouette, with normal human build, remains indistinct in a dark corner of the black-and-white CCTV image.", "figures": "The monitor fills nearly the entire frame and is NEARER to the camera, while the faint human figure within the displayed CCTV scene is FARTHER and small, roughly ~1/5 of the screen height." } }, "police_station_exterior_road": { "S22sh1": { "movement": "Su-ryeong rides the bicycle along the road outside the police station in a side-on lateral path, pedaling forward from where it had been parked with her torso pitched forward and her hair streaming backward.", "figures": "Su-ryeong and the bicycle together fill roughly ~2/3 of the frame height, with Su-ryeong about ~1/2 and the bicycle about ~1/2; both occupy the same midground depth, so neither is meaningfully nearer than the other." } }, "dark_pc_cafe_interior": { "S23sh1": { "movement": "static: Su-ri-young sits at the computer, torso facing the monitor and gaze directed toward the screen in front of her.", "figures": "Su-ri-young's front-facing upper body fills roughly ~1/2 of the frame height and is the nearer figure, while the monitor casting light onto her is farther in front of her." }, "S23sh4": { "movement": "Su-ri-young's two hands push the folded map sheets downward from above the opening into the open backpack.", "figures": "Her hands and the folded maps occupy roughly ~1/3 of the frame height, with the hands nearer to the camera than the maps as they press them into the backpack; the open backpack fills roughly ~1/2 of the frame height and lies farther beneath them along the same insertion path." } }, "foggy_harbor_rocks": { "S26sh2": { "movement": "static: exhausted after wandering the harbor for hours, Suriyoung sits on the shore rock with her knees together, her body turned toward the sea as she stares into the incoming fog.", "figures": "Suriyoung appears at roughly ~1/2 of the frame height, NEARER to the camera than the fog-covered sea, which lies FARTHER beyond her; the shore rock supports her in the near plane." }, "S26sh5": { "movement": "static: having stepped off the bow, Inwoo stands by the ground stake, gripping the thick mooring rope and holding it in place as he secures the boat.", "figures": "Inwoo fills roughly ~2/3 of the frame height and is NEARER than the boat behind him; the rope runs from the FARTHER boat through his hands to the NEARER ground stake beside him." }, "S26sh9": { "movement": "static: visibly fatigued, Suriyoung stands facing the sea in side profile, holding her smartphone at her mouth while leaving a voice message before departing.", "figures": "Suriyoung's upper body fills roughly ~2/3 of the frame height, with the smartphone close to her face in the NEAREST plane; she is NEARER than the foggy sea stretching FARTHER behind her." } }, "small_fishing_boat_deck": { "S28sh5": { "movement": "static: Inwoo keeps his gaze fixed on the photograph, eyes widened as his startled, tense upper body recoils backward in side profile.", "figures": "Inwoo fills roughly ~1/2 of the frame height and is the only visible person, making him both the nearest and farthest figure in the frame." }, "S28sh8": { "movement": "static: Suriyoung has stopped at the wheelhouse entrance with both arms spread, standing squarely toward the wheelhouse interior as if blocking the way.", "figures": "Suriyoung is shown full-body, filling roughly ~4/5 of the frame height; she is the only visible person and therefore the nearest figure, while the wheelhouse interior lies farther behind her." } }, "fishing_boat_wheelhouse": { "S29sh3": { "movement": "static: Soo Ri-young's index finger points down toward and rests against the child's face in the worn photograph, while the rest of her body remains off-screen.", "figures": "Soo Ri-young's visible index finger is small, about ~1/4 of frame height, and is NEARER to the camera; the worn photograph fills most of the frame and is FARTHER, with the child's pictured face directly beneath the fingertip." }, "S29sh4": { "movement": "static: In-woo holds his pallid face still with his lips slightly parted, his gaze direction unspecified as he turns pensive and shocked.", "figures": "In-woo's face fills ~3/4 of frame height and is the sole visible figure, positioned NEAR to the camera; no farther person is visible in the tight frame." }, "S29sh8": { "movement": "Losing consciousness, Soo Ri-young slackens and collapses forward and downward from her own position onto In-woo, her weight giving way until her forehead meets his shoulder as he remains in place glaring at her.", "figures": "Soo Ri-young's visible head fills ~1/2 of frame height and is NEARER as it overlaps In-woo's shoulder; In-woo's visible shoulder and partial figure occupy ~1/3 of frame height and are FARTHER, with the two bodies closing to direct contact." } }, "open_coastal_sea": { "S30sh1": { "movement": "static: the sea lies beneath the gradually setting sun, with its long golden reflection extending across the water and no character movement visible.", "figures": "The sea and its golden reflection occupy most of the frame, with the foreground water NEARER to the camera and the distant horizon and sunset glow FARTHER away." }, "S30sh3": { "movement": "The fishing boat advances bow-first from clear water into the dense fog wall, seen side-on as its forward half disappears into the mist; no camera-relative left-right direction is specified.", "figures": "The boat's visible bow is medium-large, filling roughly ~1/2 of the frame height, while the fog wall fills most of the background; the unobscured side of the boat is NEARER, and its forward section vanishing into the fog is FARTHER along its path." } } }, "sheets": { "dense_forest_incident_site_0": { "gkey": "dense_forest_incident_site", "file": "conti35_dense_forest_incident_site_0_i2.png", "shots": [ "S1sh1", "S1sh4", "S3sh3" ], "slots": 4, "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A dense forest clearing enclosed by tangled shrubs, mature tree trunks, and uneven leaf-covered ground. A narrow, barely visible path cuts through the undergrowth..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n MOVEMENT (follow exactly): A terrified, bleeding Korean man with one shoe missing runs through dense undergrowth, pushing forward with one foot airborne and a strained, injury-compromised gait as he flees through the forest.\n FIGURES — apparent size & depth order (follow exactly): The man's full body fills roughly ~3/4 of the frame height and is the sole figure, occupying the primary near-to-midground plane; no farther person is visible.\nPANEL 2: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n MOVEMENT (follow exactly): A real person appearing as a dark silhouette, with normal human build, has sprinted in from an unspecified direction and is airborne with both arms extended toward the terrified Korean man to tackle him.\n FIGURES — apparent size & depth order (follow exactly): The airborne silhouette and the man are both prominent, each roughly ~1/2–2/3 of the frame height; the silhouette is closing the remaining distance to the man, but the source does not establish which is nearer to the camera. Their paths converge directly at the impending impact.\nPANEL 3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n MOVEMENT (follow exactly): static: Hyesu stands upright amid the detectives, directing the investigation with her upper body oriented toward one side and one finger pointing that way.\n FIGURES — apparent size & depth order (follow exactly): Hyesu's upper body fills roughly ~2/3 of the frame height and is the dominant nearer figure, while the surrounding detectives appear smaller or partially framed farther around and behind her. Hyesu remains centered within their group rather than moving through it.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "dim_city_back_alley_0": { "gkey": "dim_city_back_alley", "file": "conti35_dim_city_back_alley_0_i2.png", "shots": [ "S2sh1", "S2sh3" ], "slots": 2, "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A narrow urban back alley bordered by worn masonry walls and utility poles. A single weak streetlamp casts patchy light over the confined pavement..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 희미한 가로등 불빛 아래 전봇대에 밀착된 채 서 있는 한국인 남자와 한국인 여자의 옆모습\n MOVEMENT (follow exactly): static: A Korean man and a Korean woman stand pressed together against a utility pole under the dim streetlight, their bodies in side profile and oriented toward each other.\n FIGURES — apparent size & depth order (follow exactly): The exact frame-height fractions are unspecified; the man and woman are comparable-sized, overlapping human figures, with neither discernibly NEARER nor FARTHER than the other, while the utility pole remains directly behind them and is FARTHER from the camera.\nPANEL 2: 한국인 남자가 입을 크게 벌려 한국인 여자의 목에 이빨을 박아넣은 채 멈춘 순간\n MOVEMENT (follow exactly): static: The Korean man holds his mouth wide open with his teeth embedded in the Korean woman's neck, their bodies locked together at the point of the bite.\n FIGURES — apparent size & depth order (follow exactly): The exact frame-height fractions are unspecified; the man's head and the woman's neck and head are the dominant, tightly overlapping forms, with neither person clearly NEARER or FARTHER because they occupy nearly the same depth and remain in direct contact.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "rooftop_room_exterior_0": { "gkey": "rooftop_room_exterior", "file": "conti35_rooftop_room_exterior_0_i2.png", "shots": [ "S4sh1", "S10sh6", "S10sh7", "S11sh5", "S17sh2" ], "slots": 6, "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n MOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n FIGURES — apparent size & depth order (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\nPANEL 2: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n MOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n FIGURES — apparent size & depth order (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\nPANEL 3: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n MOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n FIGURES — apparent size & depth order (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\nPANEL 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n MOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n FIGURES — apparent size & depth order (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\nPANEL 5: 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n MOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n FIGURES — apparent size & depth order (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nThere are 5 shots but 6 panel slots: draw the shots in\npanels 1..5 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "rooftop_room_interior_0": { "gkey": "rooftop_room_interior", "file": "conti35_rooftop_room_interior_0_i2.png", "shots": [ "S5sh5", "S5sh9", "S12sh11", "S12sh18", "S12sh21", "S14sh5" ], "slots": 6, "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n MOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n FIGURES — apparent size & depth order (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\nPANEL 2: 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n MOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n FIGURES — apparent size & depth order (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\nPANEL 3: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n MOVEMENT (follow exactly): static: lifeless Min-sook is collapsed against the floor in an asymmetric seated slump, her head dropped deeply forward, shoulders fallen, limbs limp, and body weight fully given way.\n FIGURES — apparent size & depth order (follow exactly): Min-sook's blood-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\nPANEL 4: 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n MOVEMENT (follow exactly): static: lifeless Min-sook's limp hand remains curled tightly around a crumpled photograph, with the photograph exposed toward the camera.\n FIGURES — apparent size & depth order (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body lie progressively FARTHER behind it.\nPANEL 5: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n MOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n FIGURES — apparent size & depth order (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\nPANEL 6: 핏자국 없이 깨끗한 방 내부 전경\n MOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no bloodstains, red wall mark, or collapsed body remaining anywhere in the room.\n FIGURES — apparent size & depth order (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "rooftop_room_interior_1": { "gkey": "rooftop_room_interior", "file": "conti35_rooftop_room_interior_1_i2.png", "shots": [ "S14sh7", "S14sh11", "S18sh11", "S18sh15", "S18sh16", "S25sh1" ], "slots": 6, "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n MOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\nPANEL 2: 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n MOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n FIGURES — apparent size & depth order (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\nPANEL 3: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n MOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n FIGURES — apparent size & depth order (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\nPANEL 4: 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n MOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n FIGURES — apparent size & depth order (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\nPANEL 5: 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n MOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\nPANEL 6: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n MOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\n FIGURES — apparent size & depth order (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "rooftop_room_interior_2": { "gkey": "rooftop_room_interior", "file": "conti35_rooftop_room_interior_2_i2.png", "shots": [ "S25sh5", "S25sh9", "S27sh3" ], "slots": 4, "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n MOVEMENT (follow exactly): static: a bloodstained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n FIGURES — apparent size & depth order (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\nPANEL 2: 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n MOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n FIGURES — apparent size & depth order (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\nPANEL 3: 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n MOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n FIGURES — apparent size & depth order (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "coastal_road_0": { "gkey": "coastal_road", "file": "conti35_coastal_road_0_i2.png", "shots": [ "S6sh1", "S9sh1", "S24sh2" ], "slots": 4, "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A paved coastal road running beside an exposed tidal shoreline, with the sea visible along one side and sparse roadside barriers. The route remains open and windswept, with few nearby buildings..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 낮의 해안가 도로 위, 이어폰을 낀 채 자전거 안장에 앉아 한 발로 페달을 밟아 내리는 중간 동작으로 미소 짓는 수리영의 옆모습, 자전거의 추진력에 의해 머리카락이 뒤로 흩날리는 찰나\n MOVEMENT (follow exactly): Su-ri-young rides laterally along the daytime coastal road, seated upright and smiling as one foot drives a pedal downward, with her hair streaming behind her in the direction opposite her travel.\n FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the bicycle together fill roughly ~2/3 of the frame height in side view; she is NEARER to the camera than the coastal road and sea behind her, while the bicycle occupies the same foreground plane beneath her.\nPANEL 2: 어두운 해안도로 위 자전거 안장에 앉아 한쪽 다리로 페달을 밟아 내리는 중간 자세로 앞을 향해 상체를 기울인 수리영의 실루엣, 옷자락이 뒤로 휘날리는 순간\n MOVEMENT (follow exactly): Su-ri-young, a real person appearing as a dark silhouette with normal human build, rides quickly forward along the dark coastal road toward home, leaning her torso into her course as one leg presses a pedal downward and her clothing trails behind.\n FIGURES — apparent size & depth order (follow exactly): Su-ri-young and her bicycle form a medium-sized silhouette filling about ~1/2 of the frame height; they are NEARER to the camera than the dark road and coast extending FARTHER ahead.\nPANEL 3: 비에 흠뻑 젖은 수리영이 자전거 핸들을 꽉 쥔 채 앞을 노려보는 얼굴 클로즈업\n MOVEMENT (follow exactly): Soaked by the downpour, Su-ri-young continues riding forward through the rain, gripping the handlebars tightly and aiming a tense, determined stare ahead as she searches for her mother.\n FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s wet face fills roughly ~2/3 of the frame height in close-up, with the partially visible handlebars NEARER at the lower foreground and her face just FARTHER behind them; the rain and coastal-road background are FARTHER still.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "dog_shelter_interior_0": { "gkey": "dog_shelter_interior", "file": "conti35_dog_shelter_interior_0_i2.png", "shots": [ "S7sh3", "S7sh6" ], "slots": 2, "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A utilitarian indoor animal shelter with a hard washable floor, kennel partitions, and plain institutional walls. The space is lit evenly and provides open floor area beside the enclosures..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 로트와일러가 귀를 뒤로 젖힌 채 얌전히 바닥에 엎드린 정지 상태\n MOVEMENT (follow exactly): static: the Rottweiler lies subdued and low against the floor with its ears pinned back, its body facing an unspecified direction.\n FIGURES — apparent size & depth order (follow exactly): The Rottweiler is the only visible figure; the framing and its exact fraction of frame height are unspecified, and with no other figure present it is the sole depth reference.\nPANEL 2: 수리영이 귀에 스마트폰을 댄 채 미간을 찌푸린 얼굴\n MOVEMENT (follow exactly): static: Suriyoung holds a smartphone to her ear and remains in place with a furrowed brow, facing an unspecified direction as she tries to contact Minsook.\n FIGURES — apparent size & depth order (follow exactly): Suriyoung's face is the dominant visible figure, though its exact fraction of frame height is unspecified; the smartphone is immediately beside her face at essentially the same depth, with neither clearly nearer nor farther.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "supermarket_sales_floor_0": { "gkey": "supermarket_sales_floor", "file": "conti35_supermarket_sales_floor_0_i2.png", "shots": [ "S8sh3" ], "slots": 2, "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A brightly lit supermarket sales floor with long merchandise aisles, stocked shelving, and broad customer walkways. Overhead fluorescent fixtures create flat, even illumination..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n MOVEMENT (follow exactly): static: Su-ri-young stands facing the female supermarket employee at conversational distance, her body turned toward the employee and her mouth slightly open as if speaking.\n FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the uniformed Korean female employee each fill roughly ~1/2 of the frame height in the side-on two-shot. They stand at approximately the same camera depth, so neither is distinctly NEARER or FARTHER, facing each other across a short gap.\n\nThere are 1 shots but 2 panel slots: draw the shots in\npanels 1..1 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "supermarket_exterior_entrance_0": { "gkey": "supermarket_exterior_entrance", "file": "conti35_supermarket_exterior_entrance_0_i2.png", "shots": [ "S8sh5", "S19sh5", "S19sh6" ], "slots": 4, "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): The exterior frontage of a large supermarket, centered on wide public entrance doors and a paved forecourt. A wall-mounted CCTV camera overlooks the entrance area..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n MOVEMENT (follow exactly): Suriyoung comes out of the supermarket and continues away toward home while looking down at the smartphone held in front of her upper body, trying to make contact as she walks.\n FIGURES — apparent size & depth order (follow exactly): Suriyoung's upper body fills about ~2/3 of the frame height; the small smartphone is NEARER to the camera in front of her torso, while her face is FARTHER behind it.\nPANEL 2: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n MOVEMENT (follow exactly): static: Suriyoung and the male employee stand outside the supermarket with their backs to the camera, bodies oriented toward the wall and heads tilted upward at the CCTV camera.\n FIGURES — apparent size & depth order (follow exactly): Suriyoung and the male employee each fill roughly ~1/2 of the frame height and stand at a comparable NEARER distance, their paths paused side by side; the small wall-mounted CCTV camera is FARTHER from the camera and above them.\nPANEL 3: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n MOVEMENT (follow exactly): static: Suriyoung holds a smartphone to her ear and faces forward, staring straight ahead while calling Hyesu.\n FIGURES — apparent size & depth order (follow exactly): Suriyoung's upper body fills about ~3/4 of the frame height and is the dominant NEAR figure; the small smartphone beside her face is slightly NEARER to the camera than her head.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "exterior_metal_staircase_0": { "gkey": "exterior_metal_staircase", "file": "conti35_exterior_metal_staircase_0_i2.png", "shots": [ "S11sh4" ], "slots": 2, "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n MOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n FIGURES — apparent size & depth order (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nThere are 1 shots but 2 panel slots: draw the shots in\npanels 1..1 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "residential_alley_courtyard_0": { "gkey": "residential_alley_courtyard", "file": "conti35_residential_alley_courtyard_0_i2.png", "shots": [ "S13sh4", "S13sh6" ], "slots": 2, "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n MOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n FIGURES — apparent size & depth order (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\nPANEL 2: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n MOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n FIGURES — apparent size & depth order (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "seaside_bus_stop_0": { "gkey": "seaside_bus_stop", "file": "conti35_seaside_bus_stop_0_i2.png", "shots": [ "S15sh2", "S15sh6" ], "slots": 2, "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A roadside bus stop on an open coast, with a paved waiting area and an unobstructed view of the sea. The surrounding road shoulder is broad enough for people to stand or run beside the shelter..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Su-ri-young, who remains seated and dazed while facing the sea.\n FIGURES — apparent size & depth order (follow exactly): Hye-su’s hand and forearm fill roughly ~1/3 of the frame height, with the can small at ~1/8; both are NEARER to the camera, while seated Su-ri-young is FARTHER behind them.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n MOVEMENT (follow exactly): Su-ri-young runs away from Hye-su and away from the camera, seen from behind with one foot airborne in mid-stride, while Hye-su remains standing behind her and calls after her.\n FIGURES — apparent size & depth order (follow exactly): In the wide frame, Hye-su’s full body appears small at roughly ~1/3 of the frame height and is NEARER, while Su-ri-young’s back-facing running figure is FARTHER and smaller at roughly ~1/4. Su-ri-young’s path increases the distance between them as she runs ahead, leaving Hye-su behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "police_office_interior_0": { "gkey": "police_office_interior", "file": "conti35_police_office_interior_0_i2.png", "shots": [ "S16sh3", "S21sh7", "S21sh10", "S21sh12" ], "slots": 4, "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A functional police office with clustered desks, computer monitors, paperwork, and a clearly visible exit door. The room is arranged as an open administrative workspace under institutional lighting..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n MOVEMENT (follow exactly): Hye-su abruptly extends her arm from her position in the office toward Detective Kim, thrusting the smartphone screen with Min-suk's saved number into his viewing space while remaining tensely oriented toward him.\n FIGURES — apparent size & depth order (follow exactly): Hye-su's outstretched hand and smartphone are NEARER and prominent at roughly ~1/3 of the frame height, while Detective Kim is FARTHER across from her at roughly ~1/2 of the frame height. The phone crosses the space between them but remains in Hye-su's hand.\nPANEL 2: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n MOVEMENT (follow exactly): static: Su-ri-young holds rigid with widened eyes and slightly parted lips, her tense, shocked face directed toward what she has just seen.\n FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face is the sole visible figure, NEAR to the camera and filling roughly ~2/3 to ~3/4 of the frame height; no farther person is visible.\nPANEL 3: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n MOVEMENT (follow exactly): static: the monitor displays an ocean map with a red location pin and coordinate numbers, with no physical movement in frame.\n FIGURES — apparent size & depth order (follow exactly): The monitor image is the sole visible subject and fills nearly the entire frame; the red pin and coordinate text lie on the same NEAR screen plane, with the map visually receding FARTHER only within the displayed graphic.\nPANEL 4: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n MOVEMENT (follow exactly): static: Su-ri-young pauses mid-turn inside the office with one hand still in the coat pocket holding the folded note, her tense, guarded body oriented toward the office exit as she prepares to leave.\n FIGURES — apparent size & depth order (follow exactly): Su-ri-young is NEARER, appearing at roughly ~1/2 to ~2/3 of the frame height, while the office doorway she faces is FARTHER in the background. Her path leads away from her position in the office toward and through that doorway.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "supermarket_admin_office_0": { "gkey": "supermarket_admin_office", "file": "conti35_supermarket_admin_office_0_i2.png", "shots": [ "S20sh1", "S20sh3" ], "slots": 2, "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A compact back-office inside a supermarket, furnished with desks, computer monitors, and security equipment. The workstation is used to review surveillance footage away from the public sales floor..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n MOVEMENT (follow exactly): static: The Korean male security employee and Hye-su lean tensely forward from in front of the desk toward the computer monitor, keeping their faces and bodies oriented to the CCTV footage.\n FIGURES — apparent size & depth order (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height in side view, occupying a comparable near-midground plane, with the slightly overlapping foreground figure NEARER and the other FARTHER; the monitor is smaller and FARTHER than both along their shared line of sight.\nPANEL 2: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n MOVEMENT (follow exactly): static: A real person appearing as a faint dark silhouette, with normal human build, remains indistinct in a dark corner of the black-and-white CCTV image.\n FIGURES — apparent size & depth order (follow exactly): The monitor fills nearly the entire frame and is NEARER to the camera, while the faint human figure within the displayed CCTV scene is FARTHER and small, roughly ~1/5 of the screen height.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "police_station_exterior_road_0": { "gkey": "police_station_exterior_road", "file": "conti35_police_station_exterior_road_0_i2.png", "shots": [ "S22sh1" ], "slots": 2, "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A paved urban road directly outside a police station, with the institutional building facade bordering the street. The curbside lane provides a clear route past the entrance..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n MOVEMENT (follow exactly): Su-ryeong rides the bicycle along the road outside the police station in a side-on lateral path, pedaling forward from where it had been parked with her torso pitched forward and her hair streaming backward.\n FIGURES — apparent size & depth order (follow exactly): Su-ryeong and the bicycle together fill roughly ~2/3 of the frame height, with Su-ryeong about ~1/2 and the bicycle about ~1/2; both occupy the same midground depth, so neither is meaningfully nearer than the other.\n\nThere are 1 shots but 2 panel slots: draw the shots in\npanels 1..1 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "dark_pc_cafe_interior_0": { "gkey": "dark_pc_cafe_interior", "file": "conti35_dark_pc_cafe_interior_0_i2.png", "shots": [ "S23sh1", "S23sh4" ], "slots": 2, "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A dark internet cafe lined with closely spaced computer desks, high-backed chairs, and glowing monitors. Most ambient light comes from the screens and small ceiling fixtures..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 어두운 PC방 안, 모니터 불빛이 비치는 수리영의 정면 상체\n MOVEMENT (follow exactly): static: Su-ri-young sits at the computer, torso facing the monitor and gaze directed toward the screen in front of her.\n FIGURES — apparent size & depth order (follow exactly): Su-ri-young's front-facing upper body fills roughly ~1/2 of the frame height and is the nearer figure, while the monitor casting light onto her is farther in front of her.\nPANEL 2: 수리영의 두 손이 접힌 지도 종이들을 열려 있는 백팩 안으로 밀어넣은 정지 순간\n MOVEMENT (follow exactly): Su-ri-young's two hands push the folded map sheets downward from above the opening into the open backpack.\n FIGURES — apparent size & depth order (follow exactly): Her hands and the folded maps occupy roughly ~1/3 of the frame height, with the hands nearer to the camera than the maps as they press them into the backpack; the open backpack fills roughly ~1/2 of the frame height and lies farther beneath them along the same insertion path.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "foggy_harbor_rocks_0": { "gkey": "foggy_harbor_rocks", "file": "conti35_foggy_harbor_rocks_0_i2.png", "shots": [ "S26sh2", "S26sh5", "S26sh9" ], "slots": 4, "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A small foggy harbor where dark tidal rocks meet a simple mooring edge. Fixed features include a stout mooring post, thick anchor ropes, and a landing point for small fishing boats..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 갯바위 위에 무릎을 모으고 앉아 바다를 응시하는 측면\n MOVEMENT (follow exactly): static: exhausted after wandering the harbor for hours, Suriyoung sits on the shore rock with her knees together, her body turned toward the sea as she stares into the incoming fog.\n FIGURES — apparent size & depth order (follow exactly): Suriyoung appears at roughly ~1/2 of the frame height, NEARER to the camera than the fog-covered sea, which lies FARTHER beyond her; the shore rock supports her in the near plane.\nPANEL 2: 뱃머리에서 내린 인우가 굵은 닻줄을 쥔 채 바닥의 말뚝에 걸친 정지 순간\n MOVEMENT (follow exactly): static: having stepped off the bow, Inwoo stands by the ground stake, gripping the thick mooring rope and holding it in place as he secures the boat.\n FIGURES — apparent size & depth order (follow exactly): Inwoo fills roughly ~2/3 of the frame height and is NEARER than the boat behind him; the rope runs from the FARTHER boat through his hands to the NEARER ground stake beside him.\nPANEL 3: 수리영이 바다를 향해 선 채 스마트폰을 입가에 댄 측면 상체\n MOVEMENT (follow exactly): static: visibly fatigued, Suriyoung stands facing the sea in side profile, holding her smartphone at her mouth while leaving a voice message before departing.\n FIGURES — apparent size & depth order (follow exactly): Suriyoung's upper body fills roughly ~2/3 of the frame height, with the smartphone close to her face in the NEAREST plane; she is NEARER than the foggy sea stretching FARTHER behind her.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "small_fishing_boat_deck_0": { "gkey": "small_fishing_boat_deck", "file": "conti35_small_fishing_boat_deck_0_i2.png", "shots": [ "S28sh5", "S28sh8" ], "slots": 2, "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): The exposed deck of a small working fishing boat, with low rails, a forward bow area, and a raised wheelhouse. A narrow doorway connects the open deck to the enclosed wheelhouse..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 인우가 사진에 시선을 고정한 채 두 눈을 크게 뜨고 상체를 뒤로 뺀 측면 구도\n MOVEMENT (follow exactly): static: Inwoo keeps his gaze fixed on the photograph, eyes widened as his startled, tense upper body recoils backward in side profile.\n FIGURES — apparent size & depth order (follow exactly): Inwoo fills roughly ~1/2 of the frame height and is the only visible person, making him both the nearest and farthest figure in the frame.\nPANEL 2: 수리영이 조타실 입구에 서서 두 팔을 벌린 채 멈춘 전신\n MOVEMENT (follow exactly): static: Suriyoung has stopped at the wheelhouse entrance with both arms spread, standing squarely toward the wheelhouse interior as if blocking the way.\n FIGURES — apparent size & depth order (follow exactly): Suriyoung is shown full-body, filling roughly ~4/5 of the frame height; she is the only visible person and therefore the nearest figure, while the wheelhouse interior lies farther behind her.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "fishing_boat_wheelhouse_0": { "gkey": "fishing_boat_wheelhouse", "file": "conti35_fishing_boat_wheelhouse_0_i2.png", "shots": [ "S29sh3", "S29sh4", "S29sh8" ], "slots": 4, "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A cramped enclosed wheelhouse aboard a small fishing boat, surrounded by windows and fitted with basic navigation controls. The narrow interior opens directly onto the exterior deck through a single doorway..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영의 검지손가락이 낡은 사진 속 아이의 얼굴 부분에 닿아 있는 클로즈업\n MOVEMENT (follow exactly): static: Soo Ri-young's index finger points down toward and rests against the child's face in the worn photograph, while the rest of her body remains off-screen.\n FIGURES — apparent size & depth order (follow exactly): Soo Ri-young's visible index finger is small, about ~1/4 of frame height, and is NEARER to the camera; the worn photograph fills most of the frame and is FARTHER, with the child's pictured face directly beneath the fingertip.\nPANEL 2: 인우가 입술을 살짝 벌린 채 하얗게 질린 얼굴 타이트 샷\n MOVEMENT (follow exactly): static: In-woo holds his pallid face still with his lips slightly parted, his gaze direction unspecified as he turns pensive and shocked.\n FIGURES — apparent size & depth order (follow exactly): In-woo's face fills ~3/4 of frame height and is the sole visible figure, positioned NEAR to the camera; no farther person is visible in the tight frame.\nPANEL 3: 눈이 반쯤 감긴 수리영의 이마가 인우의 어깨에 맞닿아 있는 찰나\n MOVEMENT (follow exactly): Losing consciousness, Soo Ri-young slackens and collapses forward and downward from her own position onto In-woo, her weight giving way until her forehead meets his shoulder as he remains in place glaring at her.\n FIGURES — apparent size & depth order (follow exactly): Soo Ri-young's visible head fills ~1/2 of frame height and is NEARER as it overlaps In-woo's shoulder; In-woo's visible shoulder and partial figure occupy ~1/3 of frame height and are FARTHER, with the two bodies closing to direct contact.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "open_coastal_sea_0": { "gkey": "open_coastal_sea", "file": "conti35_open_coastal_sea_0_i2.png", "shots": [ "S30sh1", "S30sh3" ], "slots": 2, "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): An open coastal sea with a broad horizon and no nearby land dominating the view. At sunset, golden light stretches across the water while a dense offshore fog bank forms a distinct wall ahead..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 해질 무렵 황금빛 노을이 바다 표면에 길게 비친 전경\n MOVEMENT (follow exactly): static: the sea lies beneath the gradually setting sun, with its long golden reflection extending across the water and no character movement visible.\n FIGURES — apparent size & depth order (follow exactly): The sea and its golden reflection occupy most of the frame, with the foreground water NEARER to the camera and the distant horizon and sunset glow FARTHER away.\nPANEL 2: 어선의 뱃머리가 짙은 안개벽에 절반쯤 가려진 측면 구도\n MOVEMENT (follow exactly): The fishing boat advances bow-first from clear water into the dense fog wall, seen side-on as its forward half disappears into the mist; no camera-relative left-right direction is specified.\n FIGURES — apparent size & depth order (follow exactly): The boat's visible bow is medium-large, filling roughly ~1/2 of the frame height, while the fog wall fills most of the background; the unobscured side of the boat is NEARER, and its forward section vanishing into the fog is FARTHER along its path.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." } }, "prev": { "dense_forest_incident_site": { "S1sh1": { "prev": null, "reason": "도주 장면의 첫 샷" }, "S1sh4": { "prev": "S1sh1", "reason": "같은 숲에서 도망치던 남자를 덮치는 연속 액션" }, "S3sh3": { "prev": null, "reason": "시간대가 바뀐 현장 감식 장면으로 직접 연결되는 구도 없음" } }, "dim_city_back_alley": { "S2sh1": { "prev": null, "reason": "첫 샷으로 앞쪽 참조 샷 없음" }, "S2sh3": { "prev": "S2sh1", "reason": "같은 전봇대 공간에서 두 남녀의 밀착이 목을 무는 연속 액션으로 이어짐" } }, "rooftop_room_exterior": { "S4sh1": { "prev": null, "reason": "낮의 옥탑방 외경을 처음 제시" }, "S10sh6": { "prev": null, "reason": "밤의 현관 앞 침입 장면으로 시간대와 구도가 새로 전환" }, "S10sh7": { "prev": "S10sh6", "reason": "같은 밤 침입 액션이 현관에서 창문 그림자로 연속" }, "S11sh5": { "prev": "S10sh6", "reason": "침입자가 열어 둔 같은 현관 철문의 상태가 이어짐" }, "S17sh2": { "prev": null, "reason": "동틀 무렵의 별도 시점이며 고양이 중심의 새 구도" } }, "rooftop_room_interior": { "S5sh5": { "prev": null, "reason": "첫 제시 샷" }, "S5sh9": { "prev": "S5sh5", "reason": "같은 장면 속 민숙의 손목 디테일" }, "S12sh11": { "prev": null, "reason": "다른 시간대의 새로운 사건 상황" }, "S12sh18": { "prev": "S12sh11", "reason": "민숙의 시신에서 손으로 이어지는 디테일" }, "S12sh21": { "prev": "S12sh18", "reason": "사진을 꺼낸 직후 같은 방에서 발생한 현상" }, "S14sh5": { "prev": "S12sh11", "reason": "같은 수리영 방의 시신 발견 전후 대비" }, "S14sh7": { "prev": "S14sh5", "reason": "깨끗하고 빈 방을 확인하는 수리영의 반응" }, "S14sh11": { "prev": null, "reason": "현관 쪽의 별도 인물 구도" }, "S18sh11": { "prev": "S12sh21", "reason": "절반쯤 나타나는 동일한 붉은 원 현상" }, "S18sh15": { "prev": "S5sh5", "reason": "액자 속 민숙의 외형 일관성" }, "S18sh16": { "prev": "S18sh15", "reason": "사진이 일그러진 직후의 수리영 반응" }, "S25sh1": { "prev": null, "reason": "시간이 지난 뒤 새롭게 훼손된 거실" }, "S25sh5": { "prev": "S12sh21", "reason": "같은 수리영 방 벽의 붉은 원 재등장" }, "S25sh9": { "prev": "S25sh5", "reason": "벽에서 떼어낸 동일한 피 묻은 사진" }, "S27sh3": { "prev": null, "reason": "별도 장면의 혜수 단독 행동" } }, "coastal_road": { "S6sh1": { "prev": null, "reason": "목록의 첫 샷" }, "S9sh1": { "prev": null, "reason": "낮에서 밤으로 시간대가 달라 연결 단서 없음" }, "S24sh2": { "prev": null, "reason": "소나기 속 별도 시점으로 날씨와 액션 연속성 없음" } }, "dog_shelter_interior": { "S7sh3": { "prev": null, "reason": "목록의 첫 샷" }, "S7sh6": { "prev": null, "reason": "통화 장면으로 전환되어 앞선 개 단독 구도와 시각적 연결이 약함" } }, "supermarket_sales_floor": { "S8sh3": { "prev": null, "reason": "단독 샷" } }, "supermarket_exterior_entrance": { "S8sh5": { "prev": null, "reason": "앞선 샷 없음" }, "S19sh5": { "prev": null, "reason": "다른 날 이른 아침으로 시간 단절" }, "S19sh6": { "prev": "S19sh5", "reason": "같은 마트 밖에서 CCTV 확인 후 이어지는 통화" } }, "exterior_metal_staircase": { "S11sh4": { "prev": null, "reason": "단독 샷" } }, "residential_alley_courtyard": { "S13sh4": { "prev": null, "reason": "앞선 샷 없음" }, "S13sh6": { "prev": "S13sh4", "reason": "같은 장소에서 멍하니 서 있던 수리영이 혜수를 올려다보는 연속 행동" } }, "seaside_bus_stop": { "S15sh2": { "prev": null, "reason": "앞선 샷이 없음" }, "S15sh6": { "prev": "S15sh2", "reason": "같은 정류장 공간에서 두 인물의 연속된 행동" } }, "police_office_interior": { "S16sh3": { "prev": null, "reason": "목록 내 선행 샷이 없음" }, "S21sh7": { "prev": null, "reason": "다른 시간대의 경찰서 장면으로 연결 단서가 약함" }, "S21sh10": { "prev": null, "reason": "인물 클로즈업에서 모니터 화면 클로즈업으로 대상이 달라짐" }, "S21sh12": { "prev": "S21sh7", "reason": "같은 시간대 사무실에서 수리영의 연속 행동과 외형이 이어짐" } }, "supermarket_admin_office": { "S20sh1": { "prev": null, "reason": "장소와 인물 구도를 처음 제시하는 샷" }, "S20sh3": { "prev": "S20sh1", "reason": "보안직원과 혜수가 보고 있는 동일 모니터 화면의 연속 클로즈업" } }, "police_station_exterior_road": { "S22sh1": { "prev": null, "reason": "단독 샷" } }, "dark_pc_cafe_interior": { "S23sh1": { "prev": null, "reason": "PC방 시퀀스의 첫 샷" }, "S23sh4": { "prev": "S23sh1", "reason": "같은 PC방에서 이어지는 수리영의 지도 정리 동작" } }, "foggy_harbor_rocks": { "S26sh2": { "prev": null, "reason": "목록 내 첫 샷" }, "S26sh5": { "prev": null, "reason": "갯바위에서 선착장 계류 지점으로 구도와 인물이 전환됨" }, "S26sh9": { "prev": "S26sh2", "reason": "같은 안개 낀 바다를 향한 수리영의 측면 구도가 이어짐" } }, "small_fishing_boat_deck": { "S28sh5": { "prev": null, "reason": "목록상 앞쪽 샷 없음" }, "S28sh8": { "prev": "S28sh5", "reason": "인우의 당황 직후 조타실로 이어지는 연속 행동" } }, "fishing_boat_wheelhouse": { "S29sh3": { "prev": null, "reason": "앞선 샷 없음" }, "S29sh4": { "prev": "S29sh3", "reason": "사진을 확인한 직후 인우의 반응으로 이어짐" }, "S29sh8": { "prev": "S29sh4", "reason": "같은 조타실에서 인우의 반응 뒤 수리영이 연속해 쓰러짐" } }, "open_coastal_sea": { "S30sh1": { "prev": null, "reason": "바다와 노을을 처음 제시하는 전경" }, "S30sh3": { "prev": "S30sh1", "reason": "같은 해질녘 바다에서 어선이 안개로 진입하는 연속 구도" } } }, "conti_need": { "dense_forest_incident_site": { "S1sh1": { "need": false, "reason": "단일 인물의 달리는 전신 동작이 글로 명확함" }, "S1sh4": { "need": true, "reason": "공중 돌진자와 피습자의 거리·방향 관계가 핵심임" }, "S3sh3": { "need": false, "reason": "정적인 상체와 손가락 지시 구도로 충분히 명확함" } }, "dim_city_back_alley": { "S2sh1": { "need": true, "reason": "두 인물과 전봇대의 밀착 위치·옆모습 방향 관계가 중요" }, "S2sh3": { "need": true, "reason": "목을 무는 순간의 두 신체 결합과 머리·목 위치 관계가 중요" } }, "rooftop_room_exterior": { "S4sh1": { "need": true, "reason": "고부감에서 옥탑방과 빌라의 깊이·배치 관계가 중요" }, "S10sh6": { "need": true, "reason": "좁은 문틈 프레이밍과 신발의 진입 방향 표현이 중요" }, "S10sh7": { "need": true, "reason": "두 그림자의 크기·겹침과 머리-어깨 위치 관계가 결정적" }, "S11sh5": { "need": true, "reason": "수리영의 시선축과 먼 현관문의 프레임 내 관계가 중요" }, "S17sh2": { "need": false, "reason": "단일 고양이의 단순한 측면 동작으로 글만으로 명확" } }, "rooftop_room_interior": { "S5sh5": { "need": true, "reason": "민숙·TV·방에서 나오는 수리영의 위치와 깊이 관계가 중요" }, "S5sh9": { "need": false, "reason": "손목 표식을 보여주는 단순 타이트 인서트" }, "S12sh11": { "need": false, "reason": "단일 인물의 정적인 바닥 붕괴 자세" }, "S12sh18": { "need": false, "reason": "손과 구겨진 사진의 단순 타이트 인서트" }, "S12sh21": { "need": false, "reason": "벽면에 반쯤 형성된 원형 표식의 단순 구도" }, "S14sh5": { "need": false, "reason": "인물 없이 정돈된 빈 방을 보여주는 정적 전경" }, "S14sh7": { "need": false, "reason": "단일 인물의 정적인 얼굴 클로즈업" }, "S14sh11": { "need": false, "reason": "상대를 노려보는 표준적인 단일 인물 구도" }, "S18sh11": { "need": true, "reason": "거울 반사면과 실제 욕실 벽의 공간 관계를 명확히 해야 함" }, "S18sh15": { "need": false, "reason": "액자 속 얼굴 변형을 보여주는 단순 효과 인서트" }, "S18sh16": { "need": false, "reason": "단일 인물의 정면 공포 반응 클로즈업" }, "S25sh1": { "need": true, "reason": "발자국 경로와 쓰러진 의자들의 프레임 내 배치가 사건 흔적 전달에 중요" }, "S25sh5": { "need": false, "reason": "붉은 원과 사진의 중심 배치가 명확한 타이트 샷" }, "S25sh9": { "need": false, "reason": "사진을 움켜쥔 손의 단순 타이트 인서트" }, "S27sh3": { "need": false, "reason": "스마트폰을 내려다보는 단일 인물 얼굴 클로즈업" } }, "coastal_road": { "S6sh1": { "need": false, "reason": "단일 인물의 측면 자전거 주행 구도가 글로 명확함" }, "S9sh1": { "need": false, "reason": "단일 인물 실루엣의 전진 주행 자세로 배치가 단순함" }, "S24sh2": { "need": false, "reason": "단일 인물 얼굴 클로즈업으로 표준적이고 명확함" } }, "dog_shelter_interior": { "S7sh3": { "need": false, "reason": "단일 동물의 정적인 단순 자세" }, "S7sh6": { "need": false, "reason": "단일 인물의 표준적인 통화 클로즈업" } }, "supermarket_sales_floor": { "S8sh3": { "need": false, "reason": "두 인물이 마주 보는 표준적인 정적 대화 구도" } }, "supermarket_exterior_entrance": { "S8sh5": { "need": false, "reason": "스마트폰을 보며 걷는 단일 인물 상체 구도로 글만으로 명확" }, "S19sh5": { "need": false, "reason": "두 인물이 나란히 CCTV를 올려다보는 정적인 후면 구도" }, "S19sh6": { "need": false, "reason": "통화 중인 단일 인물의 정면 상체 클로즈업" } }, "exterior_metal_staircase": { "S11sh4": { "need": false, "reason": "단일 인물 얼굴 클로즈업으로 자세와 방향이 글만으로 명확함" } }, "residential_alley_courtyard": { "S13sh4": { "need": false, "reason": "단일 인물의 정적인 응시 구도로 글만으로 명확함" }, "S13sh6": { "need": false, "reason": "두 인물의 표준적인 대면 측면 구도로 위치 관계가 단순함" } }, "seaside_bus_stop": { "S15sh2": { "need": false, "reason": "손과 음료수 캔을 내미는 단순 인서트 구도" }, "S15sh6": { "need": true, "reason": "달아나는 수리영과 뒤에 남은 혜수의 거리·깊이 배치가 중요" } }, "police_office_interior": { "S16sh3": { "need": true, "reason": "두 인물 사이의 거리와 스마트폰을 내미는 방향·화면 배치가 중요" }, "S21sh7": { "need": false, "reason": "단일 인물의 정적인 얼굴 클로즈업" }, "S21sh10": { "need": false, "reason": "지도와 좌표를 보여주는 단순 모니터 인서트" }, "S21sh12": { "need": false, "reason": "단일 인물의 방향 전환과 출입문 배치가 글로 명확" } }, "supermarket_admin_office": { "S20sh1": { "need": false, "reason": "두 인물이 모니터를 보는 정적인 표준 측면 구도" }, "S20sh3": { "need": false, "reason": "모니터 화면 속 형상을 보여주는 단순 인서트 클로즈업" } }, "police_station_exterior_road": { "S22sh1": { "need": false, "reason": "단일 인물의 측면 자전거 주행 구도가 글만으로 명확함" } }, "dark_pc_cafe_interior": { "S23sh1": { "need": false, "reason": "단일 인물의 정적인 정면 상체 구도" }, "S23sh4": { "need": false, "reason": "손과 소품 중심의 단순 인서트 구도" } }, "foggy_harbor_rocks": { "S26sh2": { "need": false, "reason": "단일 인물의 정적인 측면 전신 구도" }, "S26sh5": { "need": false, "reason": "인물·닻줄·말뚝의 단순한 정지 배치" }, "S26sh9": { "need": false, "reason": "단일 인물의 정적인 측면 상체 구도" } }, "small_fishing_boat_deck": { "S28sh5": { "need": false, "reason": "단일 인물의 정적인 측면 반응 구도로 글만으로 명확함" }, "S28sh8": { "need": false, "reason": "출입구에 선 단일 인물의 정적인 전신 배치로 구도가 단순함" } }, "fishing_boat_wheelhouse": { "S29sh3": { "need": false, "reason": "손가락과 사진만 담는 단순 인서트" }, "S29sh4": { "need": false, "reason": "단일 인물의 정적인 얼굴 타이트 샷" }, "S29sh8": { "need": true, "reason": "두 인물의 붕괴 동선과 어깨 접촉 위치 관계가 중요" } }, "open_coastal_sea": { "S30sh1": { "need": false, "reason": "정적인 바다 전경으로 글만으로 구도가 명확함" }, "S30sh3": { "need": true, "reason": "배와 안개벽의 경계 및 반쯤 가려지는 깊이 배치가 중요함" } } }, "gen_meta": { "S1sh1": { "gkey": "dense_forest_incident_site", "conti_used": false, "conti_reason": "단일 인물의 달리는 전신 동작이 글로 명확함", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n\nLOCATION (lock): A dense forest clearing enclosed by tangled shrubs, mature tree trunks, and uneven leaf-covered ground. A narrow, barely visible path cuts through the undergrowth. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A terrified, bleeding Korean man with one shoe missing runs through dense undergrowth, pushing forward with one foot airborne and a strained, injury-compromised gait as he flees through the forest.\n\nFIGURES — size & depth (follow exactly): The man's full body fills roughly ~3/4 of the frame height and is the sole figure, occupying the primary near-to-midground plane; no farther person is visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 남자) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 한국인 남자: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/efc879db-5f82-4f77-bf83-75e3d2d41f1c.png" } ] }, "S1sh4": { "gkey": "dense_forest_incident_site", "conti_used": true, "conti_reason": "공중 돌진자와 피습자의 거리·방향 관계가 핵심임", "prev_used": "S1sh1", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n\nLOCATION (lock): A dense forest clearing enclosed by tangled shrubs, mature tree trunks, and uneven leaf-covered ground. A narrow, barely visible path cuts through the undergrowth. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A real person appearing as a dark silhouette, with normal human build, has sprinted in from an unspecified direction and is airborne with both arms extended toward the terrified Korean man to tackle him.\n\nFIGURES — size & depth (follow exactly): The airborne silhouette and the man are both prominent, each roughly ~1/2–2/3 of the frame height; the silhouette is closing the remaining distance to the man, but the source does not establish which is nearer to the camera. Their paths converge directly at the impending impact.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 남자) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "path": "out/conti/panels35/S1sh4.png" }, { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S1sh1_nb2.png" }, { "label": "CHARACTER REFERENCE — 한국인 남자: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/efc879db-5f82-4f77-bf83-75e3d2d41f1c.png" } ] }, "S3sh3": { "gkey": "dense_forest_incident_site", "conti_used": false, "conti_reason": "정적인 상체와 손가락 지시 구도로 충분히 명확함", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n\nLOCATION (lock): A dense forest clearing enclosed by tangled shrubs, mature tree trunks, and uneven leaf-covered ground. A narrow, barely visible path cuts through the undergrowth. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Hyesu stands upright amid the detectives, directing the investigation with her upper body oriented toward one side and one finger pointing that way.\n\nFIGURES — size & depth (follow exactly): Hyesu's upper body fills roughly ~2/3 of the frame height and is the dominant nearer figure, while the surrounding detectives appear smaller or partially framed farther around and behind her. Hyesu remains centered within their group rather than moving through it.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png" } ] }, "S2sh1": { "gkey": "dim_city_back_alley", "conti_used": true, "conti_reason": "두 인물과 전봇대의 밀착 위치·옆모습 방향 관계가 중요", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 희미한 가로등 불빛 아래 전봇대에 밀착된 채 서 있는 한국인 남자와 한국인 여자의 옆모습\n\nLOCATION (lock): A narrow urban back alley bordered by worn masonry walls and utility poles. A single weak streetlamp casts patchy light over the confined pavement. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: A Korean man and a Korean woman stand pressed together against a utility pole under the dim streetlight, their bodies in side profile and oriented toward each other.\n\nFIGURES — size & depth (follow exactly): The exact frame-height fractions are unspecified; the man and woman are comparable-sized, overlapping human figures, with neither discernibly NEARER nor FARTHER than the other, while the utility pole remains directly behind them and is FARTHER from the camera.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 여자, 한국인 남자 (포식 상태)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "path": "out/conti/panels35/S2sh1.png" }, { "label": "CHARACTER REFERENCE — 한국인 여자: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/8494eff9-d8f8-4eb3-b4f4-30433165bea9.png" }, { "label": "CHARACTER REFERENCE — 한국인 남자 (포식 상태): the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/cf47e403-3038-46ef-8cfe-2c838bac85a9.png" } ] }, "S2sh3": { "gkey": "dim_city_back_alley", "conti_used": true, "conti_reason": "목을 무는 순간의 두 신체 결합과 머리·목 위치 관계가 중요", "prev_used": "S2sh1", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 한국인 남자가 입을 크게 벌려 한국인 여자의 목에 이빨을 박아넣은 채 멈춘 순간\n\nLOCATION (lock): A narrow urban back alley bordered by worn masonry walls and utility poles. A single weak streetlamp casts patchy light over the confined pavement. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: The Korean man holds his mouth wide open with his teeth embedded in the Korean woman's neck, their bodies locked together at the point of the bite.\n\nFIGURES — size & depth (follow exactly): The exact frame-height fractions are unspecified; the man's head and the woman's neck and head are the dominant, tightly overlapping forms, with neither person clearly NEARER or FARTHER because they occupy nearly the same depth and remain in direct contact.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 여자, 한국인 남자 (포식 상태)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "path": "out/conti/panels35/S2sh3.png" }, { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S2sh1_nb2.png" }, { "label": "CHARACTER REFERENCE — 한국인 여자: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/8494eff9-d8f8-4eb3-b4f4-30433165bea9.png" }, { "label": "CHARACTER REFERENCE — 한국인 남자 (포식 상태): the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/cf47e403-3038-46ef-8cfe-2c838bac85a9.png" } ] }, "S4sh1": { "gkey": "rooftop_room_exterior", "conti_used": true, "conti_reason": "고부감에서 옥탑방과 빌라의 깊이·배치 관계가 중요", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "path": "out/conti/panels35/S4sh1.png" } ] }, "S10sh6": { "gkey": "rooftop_room_exterior", "conti_used": true, "conti_reason": "좁은 문틈 프레이밍과 신발의 진입 방향 표현이 중요", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "path": "out/conti/panels35/S10sh6.png" } ] }, "S10sh7": { "gkey": "rooftop_room_exterior", "conti_used": true, "conti_reason": "두 그림자의 크기·겹침과 머리-어깨 위치 관계가 결정적", "prev_used": "S10sh6", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "path": "out/conti/panels35/S10sh7.png" }, { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S10sh6_nb2.png" } ] }, "S11sh5": { "gkey": "rooftop_room_exterior", "conti_used": true, "conti_reason": "수리영의 시선축과 먼 현관문의 프레임 내 관계가 중요", "prev_used": "S10sh6", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "path": "out/conti/panels35/S11sh5.png" }, { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S10sh6_nb2.png" }, { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" } ] }, "S17sh2": { "gkey": "rooftop_room_exterior", "conti_used": false, "conti_reason": "단일 고양이의 단순한 측면 동작으로 글만으로 명확", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\n\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [] }, "S5sh5": { "gkey": "rooftop_room_interior", "conti_used": true, "conti_reason": "민숙·TV·방에서 나오는 수리영의 위치와 깊이 관계가 중요", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "path": "out/conti/panels35/S5sh5.png" }, { "label": "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png" } ] }, "S5sh9": { "gkey": "rooftop_room_interior", "conti_used": false, "conti_reason": "손목 표식을 보여주는 단순 타이트 인서트", "prev_used": "S5sh5", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n\nFIGURES — size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S5sh5_nb2.png" }, { "label": "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png" } ] }, "S12sh11": { "gkey": "rooftop_room_interior", "conti_used": false, "conti_reason": "단일 인물의 정적인 바닥 붕괴 자세", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is collapsed against the floor in an asymmetric seated slump, her head dropped deeply forward, shoulders fallen, limbs limp, and body weight fully given way.\n\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png" } ] }, "S12sh18": { "gkey": "rooftop_room_interior", "conti_used": false, "conti_reason": "손과 구겨진 사진의 단순 타이트 인서트", "prev_used": "S12sh11", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's limp hand remains curled tightly around a crumpled photograph, with the photograph exposed toward the camera.\n\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body lie progressively FARTHER behind it.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S12sh11_nb2.png" }, { "label": "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png" }, { "label": "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png" } ] }, "S12sh21": { "gkey": "rooftop_room_interior", "conti_used": false, "conti_reason": "벽면에 반쯤 형성된 원형 표식의 단순 구도", "prev_used": "S12sh18", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S12sh18_nb2.png" }, { "label": "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png" }, { "label": "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png" } ] }, "S14sh5": { "gkey": "rooftop_room_interior", "conti_used": false, "conti_reason": "인물 없이 정돈된 빈 방을 보여주는 정적 전경", "prev_used": "S12sh11", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S12sh11_nb2.png" }, { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" }, { "label": "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png" } ] }, "S14sh7": { "gkey": "rooftop_room_interior", "conti_used": false, "conti_reason": "단일 인물의 정적인 얼굴 클로즈업", "prev_used": "S14sh5", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S14sh5_nb2.png" }, { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" } ] }, "S14sh11": { "gkey": "rooftop_room_interior", "conti_used": false, "conti_reason": "상대를 노려보는 표준적인 단일 인물 구도", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png" } ] }, "S18sh11": { "gkey": "rooftop_room_interior", "conti_used": true, "conti_reason": "거울 반사면과 실제 욕실 벽의 공간 관계를 명확히 해야 함", "prev_used": "S12sh21", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n\nFIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "path": "out/conti/panels35/S18sh11.png" }, { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S12sh21_nb2.png" }, { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" }, { "label": "PROP REFERENCE — 민숙과 수리영의 액자 사진: the exact object appearing in this shot; match its look, material and wear exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/70af1a1c-b2e4-45ad-a166-7cef7e66e156.png" } ] }, "S18sh15": { "gkey": "rooftop_room_interior", "conti_used": false, "conti_reason": "액자 속 얼굴 변형을 보여주는 단순 효과 인서트", "prev_used": "S5sh5", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S5sh5_nb2.png" }, { "label": "PROP REFERENCE — 민숙과 수리영의 액자 사진: the exact object appearing in this shot; match its look, material and wear exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/70af1a1c-b2e4-45ad-a166-7cef7e66e156.png" } ] }, "S18sh16": { "gkey": "rooftop_room_interior", "conti_used": false, "conti_reason": "단일 인물의 정면 공포 반응 클로즈업", "prev_used": "S18sh15", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S18sh15_nb2.png" }, { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" } ] }, "S25sh1": { "gkey": "rooftop_room_interior", "conti_used": true, "conti_reason": "발자국 경로와 쓰러진 의자들의 프레임 내 배치가 사건 흔적 전달에 중요", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\n\nFIGURES — size & depth (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "path": "out/conti/panels35/S25sh1.png" }, { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" }, { "label": "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png" } ] }, "S25sh5": { "gkey": "rooftop_room_interior", "conti_used": false, "conti_reason": "붉은 원과 사진의 중심 배치가 명확한 타이트 샷", "prev_used": "S12sh21", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S12sh21_nb2.png" }, { "label": "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png" } ] }, "S25sh9": { "gkey": "rooftop_room_interior", "conti_used": false, "conti_reason": "사진을 움켜쥔 손의 단순 타이트 인서트", "prev_used": "S25sh5", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S25sh5_nb2.png" }, { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" }, { "label": "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png" } ] }, "S27sh3": { "gkey": "rooftop_room_interior", "conti_used": false, "conti_reason": "스마트폰을 내려다보는 단일 인물 얼굴 클로즈업", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png" } ] }, "S6sh1": { "gkey": "coastal_road", "conti_used": false, "conti_reason": "단일 인물의 측면 자전거 주행 구도가 글로 명확함", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 낮의 해안가 도로 위, 이어폰을 낀 채 자전거 안장에 앉아 한 발로 페달을 밟아 내리는 중간 동작으로 미소 짓는 수리영의 옆모습, 자전거의 추진력에 의해 머리카락이 뒤로 흩날리는 찰나\n\nLOCATION (lock): A paved coastal road running beside an exposed tidal shoreline, with the sea visible along one side and sparse roadside barriers. The route remains open and windswept, with few nearby buildings. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Su-ri-young rides laterally along the daytime coastal road, seated upright and smiling as one foot drives a pedal downward, with her hair streaming behind her in the direction opposite her travel.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and the bicycle together fill roughly ~2/3 of the frame height in side view; she is NEARER to the camera than the coastal road and sea behind her, while the bicycle occupies the same foreground plane beneath her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" } ] }, "S9sh1": { "gkey": "coastal_road", "conti_used": false, "conti_reason": "단일 인물 실루엣의 전진 주행 자세로 배치가 단순함", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 해안도로 위 자전거 안장에 앉아 한쪽 다리로 페달을 밟아 내리는 중간 자세로 앞을 향해 상체를 기울인 수리영의 실루엣, 옷자락이 뒤로 휘날리는 순간\n\nLOCATION (lock): A paved coastal road running beside an exposed tidal shoreline, with the sea visible along one side and sparse roadside barriers. The route remains open and windswept, with few nearby buildings. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Su-ri-young, a real person appearing as a dark silhouette with normal human build, rides quickly forward along the dark coastal road toward home, leaning her torso into her course as one leg presses a pedal downward and her clothing trails behind.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and her bicycle form a medium-sized silhouette filling about ~1/2 of the frame height; they are NEARER to the camera than the dark road and coast extending FARTHER ahead.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" } ] }, "S24sh2": { "gkey": "coastal_road", "conti_used": false, "conti_reason": "단일 인물 얼굴 클로즈업으로 표준적이고 명확함", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): heavy rain shower, daytime.\n\nSHOT TEXT (authoritative, Korean): 비에 흠뻑 젖은 수리영이 자전거 핸들을 꽉 쥔 채 앞을 노려보는 얼굴 클로즈업\n\nLOCATION (lock): A paved coastal road running beside an exposed tidal shoreline, with the sea visible along one side and sparse roadside barriers. The route remains open and windswept, with few nearby buildings. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Soaked by the downpour, Su-ri-young continues riding forward through the rain, gripping the handlebars tightly and aiming a tense, determined stare ahead as she searches for her mother.\n\nFIGURES — size & depth (follow exactly): Su-ri-young’s wet face fills roughly ~2/3 of the frame height in close-up, with the partially visible handlebars NEARER at the lower foreground and her face just FARTHER behind them; the rain and coastal-road background are FARTHER still.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" } ] }, "S7sh3": { "gkey": "dog_shelter_interior", "conti_used": false, "conti_reason": "단일 동물의 정적인 단순 자세", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 로트와일러가 귀를 뒤로 젖힌 채 얌전히 바닥에 엎드린 정지 상태\n\nLOCATION (lock): A utilitarian indoor animal shelter with a hard washable floor, kennel partitions, and plain institutional walls. The space is lit evenly and provides open floor area beside the enclosures. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the Rottweiler lies subdued and low against the floor with its ears pinned back, its body facing an unspecified direction.\n\nFIGURES — size & depth (follow exactly): The Rottweiler is the only visible figure; the framing and its exact fraction of frame height are unspecified, and with no other figure present it is the sole depth reference.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [] }, "S7sh6": { "gkey": "dog_shelter_interior", "conti_used": false, "conti_reason": "단일 인물의 표준적인 통화 클로즈업", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 귀에 스마트폰을 댄 채 미간을 찌푸린 얼굴\n\nLOCATION (lock): A utilitarian indoor animal shelter with a hard washable floor, kennel partitions, and plain institutional walls. The space is lit evenly and provides open floor area beside the enclosures. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Suriyoung holds a smartphone to her ear and remains in place with a furrowed brow, facing an unspecified direction as she tries to contact Minsook.\n\nFIGURES — size & depth (follow exactly): Suriyoung's face is the dominant visible figure, though its exact fraction of frame height is unspecified; the smartphone is immediately beside her face at essentially the same depth, with neither clearly nearer nor farther.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" }, { "label": "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png" } ] }, "S8sh3": { "gkey": "supermarket_sales_floor", "conti_used": false, "conti_reason": "두 인물이 마주 보는 표준적인 정적 대화 구도", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n\nLOCATION (lock): A brightly lit supermarket sales floor with long merchandise aisles, stocked shelving, and broad customer walkways. Overhead fluorescent fixtures create flat, even illumination. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands facing the female supermarket employee at conversational distance, her body turned toward the employee and her mouth slightly open as if speaking.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and the uniformed Korean female employee each fill roughly ~1/2 of the frame height in the side-on two-shot. They stand at approximately the same camera depth, so neither is distinctly NEARER or FARTHER, facing each other across a short gap.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" } ] }, "S8sh5": { "gkey": "supermarket_exterior_entrance", "conti_used": false, "conti_reason": "스마트폰을 보며 걷는 단일 인물 상체 구도로 글만으로 명확", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n\nLOCATION (lock): The exterior frontage of a large supermarket, centered on wide public entrance doors and a paved forecourt. A wall-mounted CCTV camera overlooks the entrance area. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Suriyoung comes out of the supermarket and continues away toward home while looking down at the smartphone held in front of her upper body, trying to make contact as she walks.\n\nFIGURES — size & depth (follow exactly): Suriyoung's upper body fills about ~2/3 of the frame height; the small smartphone is NEARER to the camera in front of her torso, while her face is FARTHER behind it.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" }, { "label": "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png" } ] }, "S19sh5": { "gkey": "supermarket_exterior_entrance", "conti_used": false, "conti_reason": "두 인물이 나란히 CCTV를 올려다보는 정적인 후면 구도", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n\nLOCATION (lock): The exterior frontage of a large supermarket, centered on wide public entrance doors and a paved forecourt. A wall-mounted CCTV camera overlooks the entrance area. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Suriyoung and the male employee stand outside the supermarket with their backs to the camera, bodies oriented toward the wall and heads tilted upward at the CCTV camera.\n\nFIGURES — size & depth (follow exactly): Suriyoung and the male employee each fill roughly ~1/2 of the frame height and stand at a comparable NEARER distance, their paths paused side by side; the small wall-mounted CCTV camera is FARTHER from the camera and above them.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" } ] }, "S19sh6": { "gkey": "supermarket_exterior_entrance", "conti_used": false, "conti_reason": "통화 중인 단일 인물의 정면 상체 클로즈업", "prev_used": "S19sh5", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n\nLOCATION (lock): The exterior frontage of a large supermarket, centered on wide public entrance doors and a paved forecourt. A wall-mounted CCTV camera overlooks the entrance area. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Suriyoung holds a smartphone to her ear and faces forward, staring straight ahead while calling Hyesu.\n\nFIGURES — size & depth (follow exactly): Suriyoung's upper body fills about ~3/4 of the frame height and is the dominant NEAR figure; the small smartphone beside her face is slightly NEARER to the camera than her head.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S19sh5_nb2.png" }, { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" }, { "label": "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png" } ] }, "S11sh4": { "gkey": "exterior_metal_staircase", "conti_used": false, "conti_reason": "단일 인물 얼굴 클로즈업으로 자세와 방향이 글만으로 명확함", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" } ] }, "S13sh4": { "gkey": "residential_alley_courtyard", "conti_used": false, "conti_reason": "단일 인물의 정적인 응시 구도로 글만으로 명확함", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" } ] }, "S13sh6": { "gkey": "residential_alley_courtyard", "conti_used": false, "conti_reason": "두 인물의 표준적인 대면 측면 구도로 위치 관계가 단순함", "prev_used": "S13sh4", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S13sh4_nb2.png" }, { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" }, { "label": "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png" } ] }, "S15sh2": { "gkey": "seaside_bus_stop", "conti_used": false, "conti_reason": "손과 음료수 캔을 내미는 단순 인서트 구도", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n\nLOCATION (lock): A roadside bus stop on an open coast, with a paved waiting area and an unobstructed view of the sea. The surrounding road shoulder is broad enough for people to stand or run beside the shelter. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Su-ri-young, who remains seated and dazed while facing the sea.\n\nFIGURES — size & depth (follow exactly): Hye-su’s hand and forearm fill roughly ~1/3 of the frame height, with the can small at ~1/8; both are NEARER to the camera, while seated Su-ri-young is FARTHER behind them.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png" } ] }, "S15sh6": { "gkey": "seaside_bus_stop", "conti_used": true, "conti_reason": "달아나는 수리영과 뒤에 남은 혜수의 거리·깊이 배치가 중요", "prev_used": "S15sh2", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nLOCATION (lock): A roadside bus stop on an open coast, with a paved waiting area and an unobstructed view of the sea. The surrounding road shoulder is broad enough for people to stand or run beside the shelter. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Su-ri-young runs away from Hye-su and away from the camera, seen from behind with one foot airborne in mid-stride, while Hye-su remains standing behind her and calls after her.\n\nFIGURES — size & depth (follow exactly): In the wide frame, Hye-su’s full body appears small at roughly ~1/3 of the frame height and is NEARER, while Su-ri-young’s back-facing running figure is FARTHER and smaller at roughly ~1/4. Su-ri-young’s path increases the distance between them as she runs ahead, leaving Hye-su behind.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "path": "out/conti/panels35/S15sh6.png" }, { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S15sh2_nb2.png" }, { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" }, { "label": "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png" } ] }, "S16sh3": { "gkey": "police_office_interior", "conti_used": true, "conti_reason": "두 인물 사이의 거리와 스마트폰을 내미는 방향·화면 배치가 중요", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n\nLOCATION (lock): A functional police office with clustered desks, computer monitors, paperwork, and a clearly visible exit door. The room is arranged as an open administrative workspace under institutional lighting. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Hye-su abruptly extends her arm from her position in the office toward Detective Kim, thrusting the smartphone screen with Min-suk's saved number into his viewing space while remaining tensely oriented toward him.\n\nFIGURES — size & depth (follow exactly): Hye-su's outstretched hand and smartphone are NEARER and prominent at roughly ~1/3 of the frame height, while Detective Kim is FARTHER across from her at roughly ~1/2 of the frame height. The phone crosses the space between them but remains in Hye-su's hand.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "path": "out/conti/panels35/S16sh3.png" }, { "label": "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png" }, { "label": "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png" } ] }, "S21sh7": { "gkey": "police_office_interior", "conti_used": false, "conti_reason": "단일 인물의 정적인 얼굴 클로즈업", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n\nLOCATION (lock): A functional police office with clustered desks, computer monitors, paperwork, and a clearly visible exit door. The room is arranged as an open administrative workspace under institutional lighting. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds rigid with widened eyes and slightly parted lips, her tense, shocked face directed toward what she has just seen.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face is the sole visible figure, NEAR to the camera and filling roughly ~2/3 to ~3/4 of the frame height; no farther person is visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" } ] }, "S21sh10": { "gkey": "police_office_interior", "conti_used": false, "conti_reason": "지도와 좌표를 보여주는 단순 모니터 인서트", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n\nLOCATION (lock): A functional police office with clustered desks, computer monitors, paperwork, and a clearly visible exit door. The room is arranged as an open administrative workspace under institutional lighting. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the monitor displays an ocean map with a red location pin and coordinate numbers, with no physical movement in frame.\n\nFIGURES — size & depth (follow exactly): The monitor image is the sole visible subject and fills nearly the entire frame; the red pin and coordinate text lie on the same NEAR screen plane, with the map visually receding FARTHER only within the displayed graphic.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" } ] }, "S21sh12": { "gkey": "police_office_interior", "conti_used": false, "conti_reason": "단일 인물의 방향 전환과 출입문 배치가 글로 명확", "prev_used": "S21sh7", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n\nLOCATION (lock): A functional police office with clustered desks, computer monitors, paperwork, and a clearly visible exit door. The room is arranged as an open administrative workspace under institutional lighting. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young pauses mid-turn inside the office with one hand still in the coat pocket holding the folded note, her tense, guarded body oriented toward the office exit as she prepares to leave.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is NEARER, appearing at roughly ~1/2 to ~2/3 of the frame height, while the office doorway she faces is FARTHER in the background. Her path leads away from her position in the office toward and through that doorway.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S21sh7_nb2.png" }, { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" } ] }, "S20sh1": { "gkey": "supermarket_admin_office", "conti_used": false, "conti_reason": "두 인물이 모니터를 보는 정적인 표준 측면 구도", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n\nLOCATION (lock): A compact back-office inside a supermarket, furnished with desks, computer monitors, and security equipment. The workstation is used to review surveillance footage away from the public sales floor. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: The Korean male security employee and Hye-su lean tensely forward from in front of the desk toward the computer monitor, keeping their faces and bodies oriented to the CCTV footage.\n\nFIGURES — size & depth (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height in side view, occupying a comparable near-midground plane, with the slightly overlapping foreground figure NEARER and the other FARTHER; the monitor is smaller and FARTHER than both along their shared line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png" } ] }, "S20sh3": { "gkey": "supermarket_admin_office", "conti_used": false, "conti_reason": "모니터 화면 속 형상을 보여주는 단순 인서트 클로즈업", "prev_used": "S20sh1", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n\nLOCATION (lock): A compact back-office inside a supermarket, furnished with desks, computer monitors, and security equipment. The workstation is used to review surveillance footage away from the public sales floor. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: A real person appearing as a faint dark silhouette, with normal human build, remains indistinct in a dark corner of the black-and-white CCTV image.\n\nFIGURES — size & depth (follow exactly): The monitor fills nearly the entire frame and is NEARER to the camera, while the faint human figure within the displayed CCTV scene is FARTHER and small, roughly ~1/5 of the screen height.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S20sh1_nb2.png" }, { "label": "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png" } ] }, "S22sh1": { "gkey": "police_station_exterior_road", "conti_used": false, "conti_reason": "단일 인물의 측면 자전거 주행 구도가 글만으로 명확함", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n\nLOCATION (lock): A paved urban road directly outside a police station, with the institutional building facade bordering the street. The curbside lane provides a clear route past the entrance. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Su-ryeong rides the bicycle along the road outside the police station in a side-on lateral path, pedaling forward from where it had been parked with her torso pitched forward and her hair streaming backward.\n\nFIGURES — size & depth (follow exactly): Su-ryeong and the bicycle together fill roughly ~2/3 of the frame height, with Su-ryeong about ~1/2 and the bicycle about ~1/2; both occupy the same midground depth, so neither is meaningfully nearer than the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" } ] }, "S23sh1": { "gkey": "dark_pc_cafe_interior", "conti_used": false, "conti_reason": "단일 인물의 정적인 정면 상체 구도", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 어두운 PC방 안, 모니터 불빛이 비치는 수리영의 정면 상체\n\nLOCATION (lock): A dark internet cafe lined with closely spaced computer desks, high-backed chairs, and glowing monitors. Most ambient light comes from the screens and small ceiling fixtures. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young sits at the computer, torso facing the monitor and gaze directed toward the screen in front of her.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's front-facing upper body fills roughly ~1/2 of the frame height and is the nearer figure, while the monitor casting light onto her is farther in front of her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" } ] }, "S23sh4": { "gkey": "dark_pc_cafe_interior", "conti_used": false, "conti_reason": "손과 소품 중심의 단순 인서트 구도", "prev_used": "S23sh1", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 수리영의 두 손이 접힌 지도 종이들을 열려 있는 백팩 안으로 밀어넣은 정지 순간\n\nLOCATION (lock): A dark internet cafe lined with closely spaced computer desks, high-backed chairs, and glowing monitors. Most ambient light comes from the screens and small ceiling fixtures. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Su-ri-young's two hands push the folded map sheets downward from above the opening into the open backpack.\n\nFIGURES — size & depth (follow exactly): Her hands and the folded maps occupy roughly ~1/3 of the frame height, with the hands nearer to the camera than the maps as they press them into the backpack; the open backpack fills roughly ~1/2 of the frame height and lies farther beneath them along the same insertion path.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S23sh1_nb2.png" }, { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" }, { "label": "PROP REFERENCE — 인쇄된 해안가 지도: the exact object appearing in this shot; match its look, material and wear exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/e81a2e73-d05b-42c4-aec5-e3c20c9208da.png" } ] }, "S26sh2": { "gkey": "foggy_harbor_rocks", "conti_used": false, "conti_reason": "단일 인물의 정적인 측면 전신 구도", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영이 갯바위 위에 무릎을 모으고 앉아 바다를 응시하는 측면\n\nLOCATION (lock): A small foggy harbor where dark tidal rocks meet a simple mooring edge. Fixed features include a stout mooring post, thick anchor ropes, and a landing point for small fishing boats. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: exhausted after wandering the harbor for hours, Suriyoung sits on the shore rock with her knees together, her body turned toward the sea as she stares into the incoming fog.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears at roughly ~1/2 of the frame height, NEARER to the camera than the fog-covered sea, which lies FARTHER beyond her; the shore rock supports her in the near plane.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" } ] }, "S26sh5": { "gkey": "foggy_harbor_rocks", "conti_used": false, "conti_reason": "인물·닻줄·말뚝의 단순한 정지 배치", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 뱃머리에서 내린 인우가 굵은 닻줄을 쥔 채 바닥의 말뚝에 걸친 정지 순간\n\nLOCATION (lock): A small foggy harbor where dark tidal rocks meet a simple mooring edge. Fixed features include a stout mooring post, thick anchor ropes, and a landing point for small fishing boats. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: having stepped off the bow, Inwoo stands by the ground stake, gripping the thick mooring rope and holding it in place as he secures the boat.\n\nFIGURES — size & depth (follow exactly): Inwoo fills roughly ~2/3 of the frame height and is NEARER than the boat behind him; the rope runs from the FARTHER boat through his hands to the NEARER ground stake beside him.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (인우) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 인우: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/5a1bda13-593a-4d89-8d43-2cbaba382841.png" } ] }, "S26sh9": { "gkey": "foggy_harbor_rocks", "conti_used": false, "conti_reason": "단일 인물의 정적인 측면 상체 구도", "prev_used": "S26sh2", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영이 바다를 향해 선 채 스마트폰을 입가에 댄 측면 상체\n\nLOCATION (lock): A small foggy harbor where dark tidal rocks meet a simple mooring edge. Fixed features include a stout mooring post, thick anchor ropes, and a landing point for small fishing boats. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: visibly fatigued, Suriyoung stands facing the sea in side profile, holding her smartphone at her mouth while leaving a voice message before departing.\n\nFIGURES — size & depth (follow exactly): Suriyoung's upper body fills roughly ~2/3 of the frame height, with the smartphone close to her face in the NEAREST plane; she is NEARER than the foggy sea stretching FARTHER behind her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S26sh2_nb2.png" }, { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" }, { "label": "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png" } ] }, "S28sh5": { "gkey": "small_fishing_boat_deck", "conti_used": false, "conti_reason": "단일 인물의 정적인 측면 반응 구도로 글만으로 명확함", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 인우가 사진에 시선을 고정한 채 두 눈을 크게 뜨고 상체를 뒤로 뺀 측면 구도\n\nLOCATION (lock): The exposed deck of a small working fishing boat, with low rails, a forward bow area, and a raised wheelhouse. A narrow doorway connects the open deck to the enclosed wheelhouse. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Inwoo keeps his gaze fixed on the photograph, eyes widened as his startled, tense upper body recoils backward in side profile.\n\nFIGURES — size & depth (follow exactly): Inwoo fills roughly ~1/2 of the frame height and is the only visible person, making him both the nearest and farthest figure in the frame.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (인우) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 인우: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/5a1bda13-593a-4d89-8d43-2cbaba382841.png" } ] }, "S28sh8": { "gkey": "small_fishing_boat_deck", "conti_used": false, "conti_reason": "출입구에 선 단일 인물의 정적인 전신 배치로 구도가 단순함", "prev_used": "S28sh5", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영이 조타실 입구에 서서 두 팔을 벌린 채 멈춘 전신\n\nLOCATION (lock): The exposed deck of a small working fishing boat, with low rails, a forward bow area, and a raised wheelhouse. A narrow doorway connects the open deck to the enclosed wheelhouse. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Suriyoung has stopped at the wheelhouse entrance with both arms spread, standing squarely toward the wheelhouse interior as if blocking the way.\n\nFIGURES — size & depth (follow exactly): Suriyoung is shown full-body, filling roughly ~4/5 of the frame height; she is the only visible person and therefore the nearest figure, while the wheelhouse interior lies farther behind her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S28sh5_nb2.png" }, { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" } ] }, "S29sh3": { "gkey": "fishing_boat_wheelhouse", "conti_used": false, "conti_reason": "손가락과 사진만 담는 단순 인서트", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 검지손가락이 낡은 사진 속 아이의 얼굴 부분에 닿아 있는 클로즈업\n\nLOCATION (lock): A cramped enclosed wheelhouse aboard a small fishing boat, surrounded by windows and fitted with basic navigation controls. The narrow interior opens directly onto the exterior deck through a single doorway. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Soo Ri-young's index finger points down toward and rests against the child's face in the worn photograph, while the rest of her body remains off-screen.\n\nFIGURES — size & depth (follow exactly): Soo Ri-young's visible index finger is small, about ~1/4 of frame height, and is NEARER to the camera; the worn photograph fills most of the frame and is FARTHER, with the child's pictured face directly beneath the fingertip.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" }, { "label": "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png" } ] }, "S29sh4": { "gkey": "fishing_boat_wheelhouse", "conti_used": false, "conti_reason": "단일 인물의 정적인 얼굴 타이트 샷", "prev_used": "S29sh3", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 인우가 입술을 살짝 벌린 채 하얗게 질린 얼굴 타이트 샷\n\nLOCATION (lock): A cramped enclosed wheelhouse aboard a small fishing boat, surrounded by windows and fitted with basic navigation controls. The narrow interior opens directly onto the exterior deck through a single doorway. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: In-woo holds his pallid face still with his lips slightly parted, his gaze direction unspecified as he turns pensive and shocked.\n\nFIGURES — size & depth (follow exactly): In-woo's face fills ~3/4 of frame height and is the sole visible figure, positioned NEAR to the camera; no farther person is visible in the tight frame.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (인우) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S29sh3_nb2.png" }, { "label": "CHARACTER REFERENCE — 인우: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/5a1bda13-593a-4d89-8d43-2cbaba382841.png" } ] }, "S29sh8": { "gkey": "fishing_boat_wheelhouse", "conti_used": true, "conti_reason": "두 인물의 붕괴 동선과 어깨 접촉 위치 관계가 중요", "prev_used": "S29sh4", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 눈이 반쯤 감긴 수리영의 이마가 인우의 어깨에 맞닿아 있는 찰나\n\nLOCATION (lock): A cramped enclosed wheelhouse aboard a small fishing boat, surrounded by windows and fitted with basic navigation controls. The narrow interior opens directly onto the exterior deck through a single doorway. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Losing consciousness, Soo Ri-young slackens and collapses forward and downward from her own position onto In-woo, her weight giving way until her forehead meets his shoulder as he remains in place glaring at her.\n\nFIGURES — size & depth (follow exactly): Soo Ri-young's visible head fills ~1/2 of frame height and is NEARER as it overlaps In-woo's shoulder; In-woo's visible shoulder and partial figure occupy ~1/3 of frame height and are FARTHER, with the two bodies closing to direct contact.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 인우) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "path": "out/conti/panels35/S29sh8.png" }, { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S29sh4_nb2.png" }, { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png" }, { "label": "CHARACTER REFERENCE — 인우: the exact person appearing in this shot; match face, hair and build exactly.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/5a1bda13-593a-4d89-8d43-2cbaba382841.png" } ] }, "S30sh1": { "gkey": "open_coastal_sea", "conti_used": false, "conti_reason": "정적인 바다 전경으로 글만으로 구도가 명확함", "prev_used": null, "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 황금빛 노을이 바다 표면에 길게 비친 전경\n\nLOCATION (lock): An open coastal sea with a broad horizon and no nearby land dominating the view. At sunset, golden light stretches across the water while a dense offshore fog bank forms a distinct wall ahead. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the sea lies beneath the gradually setting sun, with its long golden reflection extending across the water and no character movement visible.\n\nFIGURES — size & depth (follow exactly): The sea and its golden reflection occupy most of the frame, with the foreground water NEARER to the camera and the distant horizon and sunset glow FARTHER away.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [] }, "S30sh3": { "gkey": "open_coastal_sea", "conti_used": true, "conti_reason": "배와 안개벽의 경계 및 반쯤 가려지는 깊이 배치가 중요함", "prev_used": "S30sh1", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 어선의 뱃머리가 짙은 안개벽에 절반쯤 가려진 측면 구도\n\nLOCATION (lock): An open coastal sea with a broad horizon and no nearby land dominating the view. At sunset, golden light stretches across the water while a dense offshore fog bank forms a distinct wall ahead. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The fishing boat advances bow-first from clear water into the dense fog wall, seen side-on as its forward half disappears into the mist; no camera-relative left-right direction is specified.\n\nFIGURES — size & depth (follow exactly): The boat's visible bow is medium-large, filling roughly ~1/2 of the frame height, while the fog wall fills most of the background; the unobscured side of the boat is NEARER, and its forward section vanishing into the fog is FARTHER along its path.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "path": "out/conti/panels35/S30sh3.png" }, { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "path": "out/conti/stills35/S30sh1_nb2.png" } ] } } }