{
 "ext_master": {
  "camera_ko": "건물 맞은편 골목의 약간 높은 위치에서, 전면 출입구와 측후면의 작은 마당, 옥상으로 이어지는 계단, 옥탑방과 옥상 설비를 동시에 내려다보는 3/4 부감 와이드 시점을 선택한다. 옥탑만 강조한 항공뷰가 아니라 지상 골목에서 옥탑 현관까지의 전체 접근 동선과 건물 전체 규모를 한 프레임에서 확인할 수 있고, 옥탑방의 철문·창문·물탱크·빨랫줄·평상도 서로 가리지 않고 배치 기준으로 삼을 수 있기 때문이다.",
  "inferred_facts_ko": [
   "배경은 현대 한국의 인천 변두리이며, 좁은 골목과 오래된 저층 주거지가 형성된 동네다. 근거: S#4의 “인천 변두리 부감, 오래된 빌라”, S#11의 “자전거를 타고 골목길을 달리는 수리영.”",
   "본체는 단독주택이 아니라 여러 세대가 사는 오래된 저층 다세대 빌라이고, 평평한 옥상 위에 별도의 옥탑 주거동이 올라가 있다. 정확한 본체 층수는 원문에 제시되지 않았으므로 특정 숫자로 고정하지 않는다. 근거: S#4의 “오래된 빌라 옥탑방 전경”, S#11의 “다세대 빌라 문을 열고 들어와”.",
   "지상 골목에서 빌라 출입문을 통과하면 작은 마당이 나오며, 마당 후미에는 자전거를 세울 수 있는 후미진 공간이 있다. 근거: S#11의 “다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고”.",
   "마당 또는 건물 측후면에서 옥상까지 연속되는 계단이 있으며, 이 계단이 옥탑방의 주 출입 동선이다. 계단에는 손으로 잡을 수 있는 철제 파이프 난간이 있다. 근거: S#11의 “옥탑방과 연결되는 계단을 급히 오른다”, 참고 샷 S11sh4의 “철제 파이프 난간을 손으로 잡은”.",
   "옥탑방은 옥상 전체를 덮지 않고, 주변에 사람이 걷고 생활 설비를 놓을 수 있는 개방된 옥상 면적을 남긴 독립 구조물이다. 근거: S#10에서 낯선 남자가 옥상 위를 걸어 현관까지 접근하고, 옥상에 “물탱크”, “빨랫줄”, “평상”이 각각 놓여 있다.",
   "옥상에는 물탱크, 바람에 노출된 빨랫줄, 약초를 말릴 수 있는 평상이 있으며 가장자리에는 고양이가 넘을 수 있는 낮은 옥상 담 또는 파라펫이 있다. 근거: S#10의 “옥탑방 옥상. 물탱크. 바람에 빨랫줄이”, “평상에 놓인 말린 석창포”, S#17의 “검은 고양이가… 담을 넘는다”.",
   "옥탑방 외부의 주 출입구는 옥상에 직접 면한 철제 현관문이며, 계단에서 옥상에 올라오면 문 정면을 볼 수 있다. 근거: S#10의 “옥탑방 철문 현관 앞에 멈춰 선다”, S#11의 “옥상에 올라와 보니 반쯤 열린 현관 철문.”",
   "옥탑방에는 외부에서 보이는 작은 창이 적어도 하나 있고, 이 창은 거실에 연결된다. 근거: S#5의 “거실에 난 작은 창으로 햇살이 가늘게 비친다”, S#10의 “창문에 비친 그림자.”",
   "옥탑 주거동은 단순한 원룸이 아니라 작은 거실 겸 식사·조리 공간, 안방, 수리영의 별도 방, 욕실과 현관을 수용하는 소형 2침실 주택 규모다. 따라서 옥상 위 구조물은 작은 창고 수준이 아니라 여러 실이 들어가는 비교적 넓고 낮은 직사각형 매스여야 한다. 근거: S#5의 거실·싱크대·식탁·수리영 방문, S#12의 “민숙 방”, “수리영 방”, S#18의 “욕실 안”.",
   "거실에는 싱크대와 식탁을 함께 둘 수 있으며 두 방문과 욕실로 이동할 수 있으므로, 옥탑 내부는 작지만 가족 두 명이 생활 가능한 압축된 주거 평면이다. 근거: S#5의 싱크대·냄비·식탁 사용, S#12의 거실에서 안방과 수리영 방을 차례로 확인하는 이동.",
   "건물과 옥상은 사건이 없는 평상시 상태로 표현해야 하므로 철문과 창문은 정상적으로 닫고, 혈흔·쓰러진 가구·사진·붉은 원·사이렌·인물 등 특정 사건 상태물은 배제한다. 근거: S#10~S#27의 열린 문, 혈흔, 붉은 표식, 수색 흔적 등은 각 사건 순간에만 발생하는 가변 상태다."
  ],
  "master_prompt_en": "A single photorealistic live-action location master still of an old low-rise Korean multifamily villa in the outskirts of contemporary Incheon, shown completely from ground level to rooftop in one frame. The building has several modest residential floors but no emphasized exact floor count, a weathered compact urban-villa exterior, and a flat roof enclosed by a low parapet. On the roof stands a separate, low rectangular rooftop dwelling, clearly large enough to contain a compact living/dining kitchenette, two small bedrooms, a bathroom, and an entry area; it is a true small two-bedroom home rather than a one-room shed. Leave a usable open roof terrace around the rooftop dwelling. Its main entrance is a plain closed metal door facing the roof access, with at least one small living-room window on the exterior wall. Include the fixed rooftop features established for the location: one utilitarian water tank, a simple clothesline exposed to the wind, and a low wooden drying platform for herbs, all arranged without blocking circulation around the dwelling. Show the complete access route: a narrow neighborhood alley, the villa’s ground-level entrance, a small enclosed courtyard with a secluded rear bicycle-parking nook, and a continuous side/rear stair with simple metal pipe handrails rising from the courtyard to the rooftop and ending near the rooftop dwelling’s metal door. Use a high three-quarter wide viewpoint from across the alley, angled toward the side and rear so the entire building silhouette, ground entrance, courtyard, stair route, roof terrace, rooftop dwelling, parapet, water tank, clothesline, drying platform, door, and window are all spatially legible at once. Surround it with restrained context typical of an older low-rise residential district on Incheon’s outskirts: narrow paved lanes, closely spaced aging villas, utility poles and cables, and a subdued urban horizon, without adding landmarks. Neutral ordinary daytime under soft clear daylight, natural colors, realistic weathering, documentary architectural photography, deep focus, believable scale, 28mm wide-angle lens, no dramatic lighting. No people, no animals, no vehicles in action, no police activity, no blood, no red symbols, no broken or overturned furniture, no open or forced doors, no ominous shadows, no readable signs or text, no event-specific props, no stylization, no concept-art look."
 },
 "ext_tags": [
  "S4sh1",
  "S10sh6",
  "S10sh7",
  "S11sh5",
  "S17sh2",
  "S11sh4",
  "S13sh4",
  "S13sh6"
 ],
 "int_tags": [
  "S5sh5",
  "S5sh9",
  "S12sh11",
  "S12sh18",
  "S12sh21",
  "S14sh5",
  "S14sh7",
  "S14sh11",
  "S18sh11",
  "S18sh15",
  "S18sh16",
  "S25sh1",
  "S25sh5",
  "S25sh9",
  "S27sh3"
 ],
 "ext_judge": {
  "gpt": {
   "ranking": [
    "A",
    "B",
    "C"
   ],
   "verdicts": [
    {
     "label": "A",
     "score": 8,
     "verdict_ko": "건물 전체와 골목·출입구·안뜰·자전거 공간·연속 외부계단, 옥상 주거·물탱크·빨랫줄·건조대가 한 프레임에 가장 명료하지만 지상층 문이 열려 보인다."
    },
    {
     "label": "B",
     "score": 7,
     "verdict_ko": "옥상 주거의 닫힌 금속문·창문과 테라스 설비 및 계단 동선은 잘 구현했으나 외벽의 읽을 수 있는 한글 표기가 명백한 제외 조건 위반이다."
    },
    {
     "label": "C",
     "score": 4,
     "verdict_ko": "접근 동선과 옥상 요소는 보이지만 단일 로케이션 마스터 스틸이 아닌 3분할 콜라주이며 한 화면에서 전체 공간 관계가 성립하지 않는다."
    }
   ],
   "winner": "A"
  },
  "gemini-pro": {
   "winner": "A",
   "ranking": [
    "A",
    "B",
    "C"
   ],
   "verdicts": [
    {
     "label": "A",
     "score": 7,
     "verdict_ko": "단일 프레임, 자전거가 있는 마당, 옥탑방 문으로 이어지는 외부 계단 등 공간적 구조를 텍스트 없이 정확하게 구현했습니다."
    },
    {
     "label": "B",
     "score": 5,
     "verdict_ko": "전반적인 형태와 요소들은 잘 갖추었으나, 프롬프트에서 명시적으로 금지한 '읽을 수 있는 텍스트(건물 외벽 간판)'가 포함되었습니다."
    },
    {
     "label": "C",
     "score": 3,
     "verdict_ko": "모든 요소를 '단 하나의 프레임(one frame)'에 담아내라는 가장 기본적인 구조적 지시를 어기고 분할된 이미지를 생성했습니다."
    }
   ]
  }
 },
 "ext_totals": {
  "A": 15,
  "B": 12,
  "C": 7
 },
 "ext_selected": "A",
 "ext_selected_file": "ext_master_a.png",
 "ext_critique": {
  "gpt": {
   "issues": [
    {
     "fix_en": "Close the visibly open ground-level entrance door while changing nothing else.",
     "issue_ko": "지상층 출입문이 열려 있어 ‘열린 문 금지’ 조건에 어긋난다."
    },
    {
     "fix_en": "Relocate the bicycles to a secluded rear parking nook within the courtyard while changing nothing else.",
     "issue_ko": "자전거들이 외부에 훤히 보이는 계단 아래에 있어 후미의 은 secluded 주차 공간이 아니다."
    },
    {
     "fix_en": "Remove or fully obscure all visible lettering and numbers on the blue plaques and door stickers while changing nothing else.",
     "issue_ko": "출입구 주변 명판과 스티커에 읽을 수 있는 문자와 숫자가 보인다."
    }
   ]
  },
  "gemini-pro": {
   "issues": [
    {
     "issue_ko": "옥탑방이 너무 좁아 보입니다.",
     "fix_en": "Enlarge the rooftop dwelling significantly."
    },
    {
     "issue_ko": "계단이 공중에 떠 있거나 이상하게 연결되어 있습니다.",
     "fix_en": "Connect the stairs logically from ground to roof."
    },
    {
     "issue_ko": "빨랫줄의 위치와 구조가 어색합니다.",
     "fix_en": "Rearrange clotheslines to be simple and realistic."
    },
    {
     "issue_ko": "자전거 주차 공간이 설명된 것과 다릅니다.",
     "fix_en": "Place a secluded rear bicycle-parking nook in courtyard."
    }
   ]
  }
 },
 "ext_fix_prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Close the visibly open ground-level entrance door while changing nothing else.\n- (GPT VLM) Relocate the bicycles to a secluded rear parking nook within the courtyard while changing nothing else.\n- (GPT VLM) Remove or fully obscure all visible lettering and numbers on the blue plaques and door stickers while changing nothing else.\n- (Gemini VLM) Enlarge the rooftop dwelling significantly.\n- (Gemini VLM) Connect the stairs logically from ground to roof.\n- (Gemini VLM) Rearrange clotheslines to be simple and realistic.\n- (Gemini VLM) Place a secluded rear bicycle-parking nook in courtyard.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere.",
 "ext_fixed_file": "ext_master_fixed.png",
 "ext_bg": {
  "S4sh1": {
   "bg_prompt_en": "Using the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props.",
   "shot": "S4sh1",
   "view_ko": "마스터의 빌라 옥상과 옥탑방을 높은 곳에서 비스듬히 내려다보는 부감"
  },
  "S10sh6": {
   "bg_prompt_en": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization.",
   "shot": "S10sh6",
   "view_ko": "옥탑방 현관 바로 앞 낮은 위치에서 철문 문턱과 어두운 출입부를 향한 초근접 시점"
  },
  "S10sh7": {
   "bg_prompt_en": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence.",
   "shot": "S10sh7",
   "view_ko": "옥상 테라스 건너편에서 불 켜진 옥탑방 생활실 창문을 정면으로 보는 고정 시점"
  },
  "S11sh5": {
   "bg_prompt_en": "Using the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting.",
   "shot": "S11sh5",
   "view_ko": "계단을 막 올라선 옥상 눈높이에서 옥탑방 철문 현관을 정면으로 바라보는 시점"
  },
  "S17sh2": {
   "bg_prompt_en": "Using the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures.",
   "shot": "S17sh2",
   "view_ko": "옥상 낮은 담의 상단을 따라 측면으로 보며 뒤쪽 옥탑방까지 담는 담벼락 높이 시점"
  },
  "S11sh4": {
   "bg_prompt_en": "Using the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props.",
   "shot": "S11sh4",
   "view_ko": "빌라 측후면 계단 중간의 얼굴 높이에서 철제 파이프 난간과 계단 벽을 가까이 보는 시점"
  },
  "S13sh4": {
   "bg_prompt_en": "Using the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance.",
   "shot": "S13sh4",
   "view_ko": "빌라 지상 출입구 부근에서 안쪽 마당과 옥상 계단 하부를 바라보는 눈높이 시점"
  },
  "S13sh6": {
   "bg_prompt_en": "Using the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props.",
   "shot": "S13sh6",
   "view_ko": "지상 출입구와 마당 옆에서 골목과 옥상 계단 하부 사이를 가로질러 보는 측면 대화 시점"
  }
 },
 "ext_sketch": {
  "file": "sketch_ext.png",
  "shots": [
   "S4sh1",
   "S10sh6",
   "S10sh7",
   "S11sh5",
   "S17sh2",
   "S11sh4",
   "S13sh4",
   "S13sh6"
  ],
  "slots": 8,
  "prompt": "Draw ONE storyboard (conti) sheet: 8 panels made by THREE vertical cuts at exactly 25%, 50% and 75% of the width and ONE horizontal cut at exactly 50% of the height — a 4-column x 2-row grid, all eight 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 building in all panels): the place shown in the attached photographs.\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\nBACKGROUND PHOTOGRAPHS (attached in panel order): the N-th attached\nphotograph is the REAL location background of PANEL N. Draw each\npanel's environment faithfully FROM its own photograph — the same\narchitecture, fixed features and spatial layout, translated into\nmonochrome pencil storyboard linework — then stage the figures per\nthat panel's shot text and movement. If a panel's shot text implies\na slightly different framing than its photograph, keep the place\nidentical and adjust only the framing.\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.\n  BACKGROUND: attached photograph #1.\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.\n  BACKGROUND: attached photograph #2.\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.\n  BACKGROUND: attached photograph #3.\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.\n  BACKGROUND: attached photograph #4.\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  BACKGROUND: attached photograph #5.\nPANEL 6: 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  BACKGROUND: attached photograph #6.\nPANEL 7: 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.\n  BACKGROUND: attached photograph #7.\nPANEL 8: 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  BACKGROUND: attached photograph #8.\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, 7, 8) 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."
 },
 "fp_spec": {
  "fp_prompt_en": "Create a clean, top-down black-and-white architectural floor plan of a very small Korean rooftop dwelling, approximately 38–45 square meters, with simple thin wall lines, realistic door swings, windows, fixtures, and furniture, but absolutely no room names, text labels, dimensions, numbers, legends, or annotations. Place a compact entry and shoe-removal zone at the front, opening directly into the main shared living, dining, and kitchenette space. Arrange a linear kitchenette along one wall with a sink and faucet, short counter, base cabinets, and a compact cooktop holding a pot. Near it, place a small dining table with several lightweight chairs. Include a television facing the living area and a floor lamp nearby. Add the explicitly described small exterior window in the living room. From this common space, provide separate interior doors to two bedrooms and one compact bathroom. Make the mother’s main bedroom modest, with a bed positioned against a wall. Make the daughter’s bedroom slightly more visually specific: a single bed with a clear wall surface above its head or side, floor area beside the bed large enough for a seated person, a backpack and a doll, and an exterior window covered by full-length curtains with a concealed corner behind them. Include a compact tiled bathroom accessed from the common area, containing a washbasin, wall mirror, toilet, and minimal shower fittings; only the washbasin, mirror, and tiled wall are directly evidenced, so keep the remaining sanitary fittings unobtrusive and typical of a tiny Korean rooftop home. Keep circulation short and economical: entry to living room, living room directly to both bedrooms and bathroom. Depict the dwelling as cramped, modest, and functional, with no corridors unless needed for door clearance. Orthographic 2D drafting style, accurate wall thicknesses, sparse monochrome furniture symbols, white background, no perspective, no roof terrace, no people, no blood, no supernatural marks, and no written text anywhere in the drawing.",
  "rooms": [
   {
    "evidence_ko": "S5에서 ‘거실에 난 작은 창’, TV를 보는 민숙, 수리영이 ‘식탁에 앉으며’가 함께 제시된다. S12에서는 수리영이 집에 들어와 켜진 TV와 거실 스탠드 불빛을 보고, 거실 식탁 위의 찻잔 두 개를 확인한다. S25에는 열린 거실 창과 쓰러진 식탁 의자들이 나온다. 따라서 현관과 각 실을 이어 주는 중심 공용공간으로 추론된다.",
    "fixtures_en": "Small exterior window, television, floor lamp, compact dining table, several dining chairs, framed family photograph, direct doors to the two bedrooms and bathroom.",
    "name_en": "Living and Dining Area"
   },
   {
    "evidence_ko": "S5에서 싱크대 수도꼭지에 물이 흐르고 냄비의 물이 끓으며, 민숙이 달인 물을 따라 준다. 별도 주방실 언급 없이 거실 장면 안에서 모든 동작이 이어지므로 거실과 통합된 소형 주방으로 판단된다.",
    "fixtures_en": "Linear kitchenette, sink with faucet, short worktop, base cabinets, compact cooktop or burner, pot storage.",
    "name_en": "Kitchenette"
   },
   {
    "evidence_ko": "S5에서 수리영이 외출 직전 신발을 신고, S12에서는 ‘엄마?’를 부르며 들어온다. S14의 구획 표기가 ‘/현관’이며 형사와 혜수가 집안을 확인한 뒤 이곳으로 나온다. 따라서 거실에 바로 연결되는 작은 현관이 필요하다.",
    "fixtures_en": "Exterior entry door, compact shoe-removal threshold, small shoe area.",
    "name_en": "Entry"
   },
   {
    "evidence_ko": "S12에서 수리영이 ‘안방 문’을 열어 민숙을 찾고, S18에서는 안방 침대에 머리를 대고 앉아 밤새 기다리다 졸았다고 명시된다. 안방에서 집안을 살핀 뒤 수리영 방으로 이동하므로 공용공간과 직접 연결된 별도 침실로 추론된다.",
    "fixtures_en": "Bed against a wall, interior hinged door.",
    "name_en": "Mother’s Bedroom"
   },
   {
    "evidence_ko": "S5에서 수리영이 방문을 열고 거실로 나오며, S12·S18에서 마지막으로 자기 방문을 열고 들어간다. 방 안에는 침대와 침대 위쪽 벽면, 창문과 커튼, 커튼 뒤 공간이 명시된다. S14에는 백팩과 인형이 있고, S25에는 침대에 주저앉는 행동이 나온다.",
    "fixtures_en": "Single bed against a wall, exterior window, full-length curtains with space behind them, interior hinged door, backpack and doll as loose props.",
    "name_en": "Daughter’s Bedroom"
   },
   {
    "evidence_ko": "S18에서 수리영이 욕실 안에서 얼굴을 씻고 거울을 보며, 거울에 욕실 타일 벽면이 반사된다. 이후 즉시 거실로 튀어나오므로 거실 또는 짧은 공용 동선에 직접 접한 소형 욕실로 추론된다. 변기와 샤워 설비는 원문에 직접 언급되지 않지만 주거용 욕실의 최소 전형으로 보충한다.",
    "fixtures_en": "Washbasin, wall mirror, tiled wall, compact toilet, minimal shower fittings, interior door.",
    "name_en": "Bathroom"
   }
  ],
  "size_estimate_ko": "옥탑방 한 세대 안에 거실·식당·주방이 결합된 공용공간, 현관, 안방, 수리영 방, 욕실이 모두 있으며 인물들이 복도 이동 없이 거실과 각 방을 빠르게 오간다. ‘작은 창’, 옥탑방이라는 주거 유형, 식탁·TV·싱크가 같은 장면에 잡히는 점을 근거로 전체 실내는 약 38~45㎡의 소형 2침실 주택으로 추정한다. 공용공간은 약 16~20㎡, 안방 7~9㎡, 수리영 방 7~9㎡, 욕실 2.5~3.5㎡, 현관 및 잔여 동선 3~5㎡ 정도가 무리 없는 최소 규모다."
 },
 "fp_prompt_final": "Create a clean, top-down black-and-white architectural floor plan of a very small Korean rooftop dwelling, approximately 38–45 square meters, with simple thin wall lines, realistic door swings, windows, fixtures, and furniture, but absolutely no room names, text labels, dimensions, numbers, legends, or annotations. Place a compact entry and shoe-removal zone at the front, opening directly into the main shared living, dining, and kitchenette space. Arrange a linear kitchenette along one wall with a sink and faucet, short counter, base cabinets, and a compact cooktop holding a pot. Near it, place a small dining table with several lightweight chairs. Include a television facing the living area and a floor lamp nearby. Add the explicitly described small exterior window in the living room. From this common space, provide separate interior doors to two bedrooms and one compact bathroom. Make the mother’s main bedroom modest, with a bed positioned against a wall. Make the daughter’s bedroom slightly more visually specific: a single bed with a clear wall surface above its head or side, floor area beside the bed large enough for a seated person, a backpack and a doll, and an exterior window covered by full-length curtains with a concealed corner behind them. Include a compact tiled bathroom accessed from the common area, containing a washbasin, wall mirror, toilet, and minimal shower fittings; only the washbasin, mirror, and tiled wall are directly evidenced, so keep the remaining sanitary fittings unobtrusive and typical of a tiny Korean rooftop home. Keep circulation short and economical: entry to living room, living room directly to both bedrooms and bathroom. Depict the dwelling as cramped, modest, and functional, with no corridors unless needed for door clearance. Orthographic 2D drafting style, accurate wall thicknesses, sparse monochrome furniture symbols, white background, no perspective, no roof terrace, no people, no blood, no supernatural marks, and no written text anywhere in the drawing.\n\nOUTPUT MEDIUM: a flat 2D architectural FLOOR PLAN DRAWING on plain\ndrawing paper — NOT a photograph, NOT a 3D rendering. TRUE\nORTHOGRAPHIC PLAN seen from DIRECTLY ABOVE (90 degrees). Absolutely\nNO 3D: no perspective, no axonometric tilt, no wall surfaces, no\nfurniture volumes — walls as clean double lines, openings as\nstandard plan symbols, fixtures and furniture as flat plan symbols,\nuniform flat fills and clean drafting linework. No readable text\nlabels anywhere.",
 "int_plates": [
  {
   "covers": [
    "S5sh5",
    "S5sh9",
    "S18sh15",
    "S18sh16"
   ],
   "key": "living_dining_day_root",
   "prompt_en": "ROOT PLATE. Use the attached floor-plan specification as the authoritative layout for the same small 38–45 square meter Korean rooftop apartment. Daytime interior, with narrow natural sunlight entering through the small exterior living-room window. Place the camera at standing eye level near the entry-side corner, looking diagonally across the central combined living and dining area so the maximum number of fixed spatial identifiers are visible: the compact dining table and several upright chairs, the linear kitchenette with sink, faucet, short worktop, base cabinets and compact cooktop, the television, floor lamp, small exterior window, and the direct interior doors leading to the two bedrooms and bathroom. Include the ordinary framed family photograph near the dining area, with tiny indistinct photographic details and no text. Keep the TV off, the faucet off, the cooktop off, and any pot clean and inactive. Modest, compact, lived-in rooftop housing, realistic Korean residential interior, photorealistic live-action background plate, natural perspective and restrained production design. Empty set: no people, no readable text, no blood, no footprints, no overturned furniture, no boiling water, no spilled cups, no supernatural circles, no damaged or melting photograph, and no other incident-moment state.",
   "title_ko": "낮의 거실·식당 통합 루트 뷰",
   "why_ko": "TV, 식탁, 간이주방, 작은 외창, 스탠드, 가족사진, 각 실의 문까지 공간 정체성과 고정 요소를 가장 많이 한 화면에 담을 수 있어 뿌리 플레이트로 선정한다. S5의 TV 주변 타이트 샷과 S18의 식탁·가족사진 주변 클로즈업을 모두 이 기준 공간에서 파생할 수 있다."
  },
  {
   "covers": [
    "S25sh1",
    "S27sh3"
   ],
   "key": "living_dining_sunset_floor_view",
   "prompt_en": "Use the attached floor plan and the supplied root plate, which depict this exact same small Korean rooftop apartment; also use the immediately previous plate as the continuity reference. Sunset interior. Position the camera near the entry threshold at a slightly lower standing height than the root view, looking inward and gently downward across the living-room floor and compact dining zone toward the small exterior window. Preserve exactly the same spatial relationships, architecture, television, floor lamp, linear kitchenette, dining table, chairs, framed family photograph, and direct bedroom and bathroom doors established by the root. Warm fading sunset light enters through the small window while the interior remains naturally dim. All dining chairs must be upright in their normal positions and the exterior window closed in a neutral condition. Leave clear floor area and believable close-up background depth for a person standing in the common room. Photorealistic live-action empty background plate, no people, no readable text, no muddy footprints, no overturned chairs, no searched-through belongings, no open window, no blood, no supernatural marks, no phone, and no other incident-specific state.",
   "title_ko": "해질 무렵 거실 바닥·식탁 뷰",
   "why_ko": "루트와 같은 공용공간을 해질 무렵 조명으로 먼저 변주해 구조 연속성을 가장 강하게 유지한다. 카메라를 조금 낮추고 바닥과 식탁 쪽으로 향하게 하여 S25의 발자국·쓰러진 의자 전경을 합성할 여백을 확보하며, S27의 인물 클로즈업에도 동일 시간대의 거실 배경을 제공한다."
  },
  {
   "covers": [
    "S25sh5",
    "S25sh9"
   ],
   "key": "daughter_bedroom_sunset_bed_wall",
   "prompt_en": "Use the attached floor plan, the supplied root plate, and the immediately previous sunset living-room plate as references for this exact same rooftop apartment. Sunset interior in the daughter's bedroom. Place the camera just inside the daughter's open interior doorway, facing into the compact room toward the single bed and the wall above the bed, while also retaining part of the exterior window with full-length curtains and the usable recess behind the curtains in the composition. Through the doorway edge, preserve a small visual connection to the sunset common area established in the previous plate. The single bed rests against a wall; include the backpack and doll only as ordinary, neatly placed loose belongings consistent with the floor-plan specification. Warm, fading sunset light, realistic compact-room proportions, photorealistic live-action background plate. Keep the wall above the bed completely plain and undamaged. Empty set: no people, no readable text, no red circle, no pinned or bloodstained photograph, no blood, no corpse, no disturbed furniture, no clenched hand, and no other incident-moment state.",
   "title_ko": "해질 무렵 수리영 방 침대 벽 뷰",
   "why_ko": "직전 해질 무렵 거실에서 수리영 방 문을 통과하는 인접 동선으로 이어져 체이닝이 자연스럽다. 침대 위 벽을 정면에 두어 S25의 붉은 원과 사진 삽입 샷을 커버하고, 사진을 쥔 손 타이트 샷에도 같은 방의 중립 배경을 제공한다."
  },
  {
   "covers": [
    "S12sh11",
    "S12sh18",
    "S12sh21",
    "S14sh5",
    "S14sh7"
   ],
   "key": "daughter_bedroom_night_doorway_wide",
   "prompt_en": "Use the attached floor plan, the supplied root plate, and the immediately previous daughter's-bedroom sunset plate as references for the exact same room and geometry. Night interior. Re-create the daughter's bedroom from nearly the same camera axis, with the camera at the interior doorway looking toward the single bed, the wall above the bed, and the exterior window with full-length curtains and sufficient recess space behind them. Preserve the bed, window, curtain, door, backpack and doll positions as normal residential set dressing, but present the room exceptionally neat and clean. The common area beyond the doorway should be dim, with only plausible low spill from the living-room floor lamp; no invented fixtures. Photorealistic live-action empty background plate, realistic night exposure and compact rooftop-apartment scale. No people, no readable text, no corpse, no blood, no bloody footprints, no wound, no old photograph, no red circle on the wall, no shifted belongings, and no other incident-specific or supernatural state.",
   "title_ko": "밤의 수리영 방 출입문 전경",
   "why_ko": "직전 플레이트와 사실상 같은 방·카메라 축을 유지하면서 시간만 밤으로 바꾸므로 형태 일관성을 확보하기 쉽다. 출입문에서 침대, 침대 위 벽, 창문과 커튼 뒤 공간을 함께 보여 주어 S12의 커튼 쪽 시신 및 벽 표식 샷과 S14의 깨끗한 방 전경·인물 클로즈업을 하나의 중립 플레이트로 커버한다."
  },
  {
   "covers": [
    "S14sh11"
   ],
   "key": "entry_night_inward_view",
   "prompt_en": "Use the attached floor plan, the supplied root plate, and the immediately previous night daughter's-bedroom plate as continuity references for this exact same rooftop apartment. Night interior at the entry. Place the camera immediately beside the exterior entry door, facing inward across the compact shoe-removal threshold and small shoe area toward the central living and dining room. Show enough of the common room to identify the same dining table, television or floor-lamp zone, and the direct interior doorways established by the root, without adding a corridor. The entry must feel compact and directly connected to the living space. Use dim practical spill from the existing living-room floor lamp and subdued night ambience; do not invent additional lighting fixtures. Leave neutral background depth suitable for a tight facial shot near the entrance. Photorealistic live-action empty set, no people, no readable text, no police equipment, no disturbed belongings, no blood, no footprints, no supernatural marks, and no incident-moment state.",
   "title_ko": "밤의 현관에서 거실을 보는 뷰",
   "why_ko": "밤의 수리영 방에서 공용공간을 거쳐 현관으로 이동하는 공간적 체인을 따른다. 현관의 신발 벗는 단차와 거실의 직접 연결 관계를 보여 주면서 S14의 혜수 클로즈업에 필요한 야간 현관 배경을 최소 한 장으로 확보한다."
  },
  {
   "covers": [
    "S18sh11"
   ],
   "key": "bathroom_day_mirror_tile_view",
   "prompt_en": "Use the attached floor plan, the supplied root plate, and the immediately previous entry-at-night plate as references for the same compact rooftop apartment; preserve the bathroom door's direct relationship to the central common area established by the root. Daytime interior in the small bathroom. Place the camera inside the bathroom, near the interior door and at standing eye level, facing the washbasin and wall mirror so that a substantial section of the opposite tiled bathroom wall is clearly visible in the mirror reflection. Include only the specified compact residential fixtures: washbasin with faucet, wall mirror, tiled walls, compact toilet, and minimal shower fittings. Maintain realistic 2.5–3.5 square meter proportions and modest Korean rooftop-apartment materials. Soft neutral daytime light, photorealistic live-action empty background plate. The mirror and reflected tile wall must be clean and ordinary. No people or human reflection, no readable text, no water running, no red circle, no blood, no supernatural effect, and no other incident-moment state.",
   "title_ko": "낮의 욕실 거울·반사 타일 뷰",
   "why_ko": "마지막으로 공용공간에 직접 접한 독립 서브공간인 욕실을 만든다. 현관 플레이트와 루트에 나타난 공용 동선 및 욕실 문 위치를 참조하면서, 카메라를 세면대와 거울을 향하게 해 S18의 거울 속 타일 벽 표식 샷에 필요한 정확한 반사 배경을 제공한다."
  }
 ],
 "int_sketch": {
  "0": {
   "file": "sketch_int_0.png",
   "shots": [
    "S5sh5",
    "S5sh9",
    "S12sh11",
    "S12sh18",
    "S12sh21",
    "S14sh5",
    "S14sh7",
    "S14sh11"
   ],
   "slots": 8,
   "prompt": "Draw ONE storyboard (conti) sheet: 8 panels made by THREE vertical cuts at exactly 25%, 50% and 75% of the width and ONE horizontal cut at exactly 50% of the height — a 4-column x 2-row grid, all eight 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 interior in all panels): the place shown in the attached photographs.\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 ARE CHRONOLOGICAL — CONTINUE THE ACTION: compose every\npanel as the direct continuation of the panel before it. Before\ndrawing a panel, read the previous panel's END STATE — where each\nperson is, their pose and facing, what they hold, and the state of\nthe room — and start this panel's action FROM that state,\nadvancing only what this panel's shot text says. Consecutive\npanels must cut together as one continuous scene.\nIMMOBILE CHARACTERS NEVER MOVE: a character who is dead,\nunconscious or otherwise unable to move must appear in every later\npanel EXACTLY as they were in the previous panel where they\nappeared — the same collapsed pose, same spot, same clothing and\nstate, unmoved and unposed. Never re-pose, revive, tidy, seat\nupright or relocate an immobile character between panels; only the\ncamera changes around them.\n\nBACKGROUND PHOTOGRAPHS (attached): each PANEL states which\nattached photograph is its REAL location background. Draw\nthat panel's environment faithfully FROM its stated\nphotograph — the same room, fixed features and spatial\nlayout, translated into monochrome pencil storyboard\nlinework — then stage the figures per the panel's shot text\nand movement. All photographs are the SAME single interior.\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.\n  CARRIED STATE (persist exactly — must match the panels before and after): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\n  BACKGROUND: attached photograph #1.\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.\n  CARRIED STATE (persist exactly — must match the panels before and after): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\n  BACKGROUND: attached photograph #1.\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.\n  CARRIED STATE (persist exactly — must match the panels before and after): Minsuk remains dead behind the curtain, seated on the floor with her head bowed, her torn shoulder and collarbone exposed amid the blood and bloody footprints. The crumpled photograph is already clenched in her hand, and the small circular mark remains on her wrist.\n  BACKGROUND: attached photograph #4.\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.\n  CARRIED STATE (persist exactly — must match the panels before and after): Minsuk remains in the same seated, head-bowed position with the wounds and blood undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n  BACKGROUND: attached photograph #4.\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.\n  CARRIED STATE (persist exactly — must match the panels before and after): Minsuk’s corpse, wounds, and the room’s blood traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n  BACKGROUND: attached photograph #4.\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  CARRIED STATE (persist exactly — must match the panels before and after): The room is unnaturally spotless, with no blood, wall circle, or corpse behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n  BACKGROUND: attached photograph #4.\nPANEL 7: 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.\n  CARRIED STATE (persist exactly — must match the panels before and after): The empty room remains excessively clean, with the corpse, blood, and red wall mark still absent. The backpack and doll remain in their altered positions.\n  BACKGROUND: attached photograph #4.\nPANEL 8: 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.\n  CARRIED STATE (persist exactly — must match the panels before and after): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no corpse, blood, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\n  BACKGROUND: attached photograph #5.\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, 7, 8) 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."
  },
  "1": {
   "file": "sketch_int_1.png",
   "shots": [
    "S18sh11",
    "S18sh15",
    "S18sh16",
    "S25sh1",
    "S25sh5",
    "S25sh9",
    "S27sh3"
   ],
   "slots": 8,
   "prompt": "Draw ONE storyboard (conti) sheet: 8 panels made by THREE vertical cuts at exactly 25%, 50% and 75% of the width and ONE horizontal cut at exactly 50% of the height — a 4-column x 2-row grid, all eight 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 interior in all panels): the place shown in the attached photographs.\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 ARE CHRONOLOGICAL — CONTINUE THE ACTION: compose every\npanel as the direct continuation of the panel before it. Before\ndrawing a panel, read the previous panel's END STATE — where each\nperson is, their pose and facing, what they hold, and the state of\nthe room — and start this panel's action FROM that state,\nadvancing only what this panel's shot text says. Consecutive\npanels must cut together as one continuous scene.\nIMMOBILE CHARACTERS NEVER MOVE: a character who is dead,\nunconscious or otherwise unable to move must appear in every later\npanel EXACTLY as they were in the previous panel where they\nappeared — the same collapsed pose, same spot, same clothing and\nstate, unmoved and unposed. Never re-pose, revive, tidy, seat\nupright or relocate an immobile character between panels; only the\ncamera changes around them.\n\nBACKGROUND PHOTOGRAPHS (attached): each PANEL states which\nattached photograph is its REAL location background. Draw\nthat panel's environment faithfully FROM its stated\nphotograph — the same room, fixed features and spatial\nlayout, translated into monochrome pencil storyboard\nlinework — then stage the figures per the panel's shot text\nand movement. All photographs are the SAME single interior.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 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.\n  CARRIED STATE (persist exactly — must match the panels before and after): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a corpse. A red circle is partially visible on the bathroom wall only in the mirror reflection.\n  BACKGROUND: attached photograph #6.\nPANEL 2: 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.\n  CARRIED STATE (persist exactly — must match the panels before and after): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\n  BACKGROUND: attached photograph #1.\nPANEL 3: 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.\n  CARRIED STATE (persist exactly — must match the panels before and after): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\n  BACKGROUND: attached photograph #1.\nPANEL 4: 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  CARRIED STATE (persist exactly — must match the panels before and after): The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the bloodstained old photograph pinned at its center are already present in Suri-young’s room.\n  BACKGROUND: attached photograph #2.\nPANEL 5: 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.\n  CARRIED STATE (persist exactly — must match the panels before and after): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the bloodstained old photograph is still pinned at the center of the red wall circle.\n  BACKGROUND: attached photograph #3.\nPANEL 6: 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.\n  CARRIED STATE (persist exactly — must match the panels before and after): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, bloodstained photograph.\n  BACKGROUND: attached photograph #3.\nPANEL 7: 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  CARRIED STATE (persist exactly — must match the panels before and after): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\n  BACKGROUND: attached photograph #2.\n\nThere are 7 shots but 8 panel slots: draw the shots in\npanels 1..7 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, 6, 7) 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."
  }
 },
 "int_cont": {
  "S5sh5": {
   "basis_ko": "“앞치마를 두른 채” / “민숙 손목에 보이는 작은 원”",
   "carried_en": "Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.",
   "shot": "S5sh5"
  },
  "S5sh9": {
   "basis_ko": "“후다닥 TV를 끄는 민숙” / “민숙 손목에 보이는 작은 원”",
   "carried_en": "The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.",
   "shot": "S5sh9"
  },
  "S12sh11": {
   "basis_ko": "“앉은 채로 고개를 떨군 채 죽어있는 엄마” / “엄마 손안에 구겨진 사진 한 장”",
   "carried_en": "Minsuk remains dead behind the curtain, seated on the floor with her head bowed, her torn shoulder and collarbone exposed amid the blood and bloody footprints. The crumpled photograph is already clenched in her hand, and the small circular mark remains on her wrist.",
   "shot": "S12sh11"
  },
  "S12sh18": {
   "basis_ko": "“엄마 손안에 구겨진 사진 한 장이 보인다”",
   "carried_en": "Minsuk remains in the same seated, head-bowed position with the wounds and blood undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.",
   "shot": "S12sh18"
  },
  "S12sh21": {
   "basis_ko": "“사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다… 침대 위 벽에 붉은 원이 생겨난다”",
   "carried_en": "Minsuk’s corpse, wounds, and the room’s blood traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.",
   "shot": "S12sh21"
  },
  "S14sh5": {
   "basis_ko": "“핏자국도 보이지 않고, 침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다”",
   "carried_en": "The room is unnaturally spotless, with no blood, wall circle, or corpse behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.",
   "shot": "S14sh5"
  },
  "S14sh7": {
   "basis_ko": "“지나칠 정도로 깨끗하게 정돈된 방안”",
   "carried_en": "The empty room remains excessively clean, with the corpse, blood, and red wall mark still absent. The backpack and doll remain in their altered positions.",
   "shot": "S14sh7"
  },
  "S14sh11": {
   "basis_ko": "“식탁 역시 깨끗한” / “백팩, 인형. 약간씩 위치가 달라진”",
   "carried_en": "The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no corpse, blood, or red circle. The backpack and doll remain slightly displaced from their earlier positions.",
   "shot": "S14sh11"
  },
  "S18sh11": {
   "basis_ko": "“인형이 달린 자신의 백팩을 꺼내 나온다” / “거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원”",
   "carried_en": "Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a corpse. A red circle is partially visible on the bathroom wall only in the mirror reflection.",
   "shot": "S18sh11"
  },
  "S18sh15": {
   "basis_ko": "“식탁에 놓인 엄마와 수리영의 사진을 보는데… 환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다”",
   "carried_en": "The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.",
   "shot": "S18sh15"
  },
  "S18sh16": {
   "basis_ko": "“(다시보니 멀쩡하다)”",
   "carried_en": "The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.",
   "shot": "S18sh16"
  },
  "S25sh1": {
   "basis_ko": "“발자국들… 가재도구를 온통 헤집은… 창은 열려있고, 식탁 의자들을 쓰러져있다”",
   "carried_en": "The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the bloodstained old photograph pinned at its center are already present in Suri-young’s room.",
   "shot": "S25sh1"
  },
  "S25sh5": {
   "basis_ko": "“벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장”",
   "carried_en": "The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the bloodstained old photograph is still pinned at the center of the red wall circle.",
   "shot": "S25sh5"
  },
  "S25sh9": {
   "basis_ko": "“사진을 손에 꼭 쥔 채”",
   "carried_en": "The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, bloodstained photograph.",
   "shot": "S25sh9"
  },
  "S27sh3": {
   "basis_ko": "“수리영의 녹음메시지를 확인하는 혜수”",
   "carried_en": "The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.",
   "shot": "S27sh3"
  }
 },
 "still_meta": {
  "S4sh1": {
   "gkey": "rooftop_room_exterior",
   "prev_used": null,
   "plate": "bg_S4sh1.png",
   "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 — the attached LOCATION PHOTOGRAPH shows the exact spot.\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/s37/panels/S4sh1.png"
    },
    {
     "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.",
     "path": "out/s37/bg_S4sh1.png"
    }
   ]
  },
  "S10sh6": {
   "gkey": "rooftop_room_exterior",
   "prev_used": null,
   "plate": "bg_S10sh6.png",
   "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 — the attached LOCATION PHOTOGRAPH shows the exact spot.\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/s37/panels/S10sh6.png"
    },
    {
     "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.",
     "path": "out/s37/bg_S10sh6.png"
    }
   ]
  },
  "S10sh7": {
   "gkey": "rooftop_room_exterior",
   "prev_used": "S10sh6",
   "panel_used": false,
   "plate": "(미첨부 — prev 잠금)",
   "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 — the attached PREVIOUS SHOT STILL shows this exact place.\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": "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/s37/stills/S10sh6_nb2.png"
    }
   ]
  },
  "S11sh5": {
   "gkey": "rooftop_room_exterior",
   "prev_used": "S10sh6",
   "panel_used": false,
   "plate": "(미첨부 — prev 잠금)",
   "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 — the attached PREVIOUS SHOT STILL shows this exact place.\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": "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/s37/stills/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",
   "prev_used": null,
   "plate": "bg_S17sh2.png",
   "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 — the attached LOCATION PHOTOGRAPH shows the exact spot.\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 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": [
    {
     "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/s37/panels/S17sh2.png"
    },
    {
     "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.",
     "path": "out/s37/bg_S17sh2.png"
    }
   ]
  },
  "S11sh4": {
   "gkey": "exterior_metal_staircase",
   "prev_used": null,
   "plate": "bg_S11sh4.png",
   "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 — the attached LOCATION PHOTOGRAPH shows the exact spot.\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: 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": "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/s37/panels/S11sh4.png"
    },
    {
     "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.",
     "path": "out/s37/bg_S11sh4.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"
    }
   ]
  },
  "S13sh4": {
   "gkey": "residential_alley_courtyard",
   "prev_used": null,
   "plate": "bg_S13sh4.png",
   "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 — the attached LOCATION PHOTOGRAPH shows the exact spot.\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: 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": "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/s37/panels/S13sh4.png"
    },
    {
     "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.",
     "path": "out/s37/bg_S13sh4.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"
    }
   ]
  },
  "S13sh6": {
   "gkey": "residential_alley_courtyard",
   "prev_used": "S13sh4",
   "panel_used": false,
   "plate": "(미첨부 — prev 잠금)",
   "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 — the attached PREVIOUS SHOT STILL shows this exact place.\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/s37/stills/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"
    }
   ]
  },
  "S5sh5": {
   "gkey": "rooftop_room_interior",
   "prev_used": null,
   "plate": "plate_living_dining_day_root.png",
   "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 — the attached LOCATION PHOTOGRAPH shows the exact spot.\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\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\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/s37/panels/S5sh5.png"
    },
    {
     "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.",
     "path": "out/s37/plate_living_dining_day_root.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",
   "prev_used": "S5sh5",
   "panel_used": false,
   "plate": "(미첨부 — prev 잠금)",
   "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 — the attached PREVIOUS SHOT STILL shows this exact place.\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\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\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/s37/stills/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",
   "prev_used": null,
   "panel_used": true,
   "plate": "plate_daughter_bedroom_night_doorway_wide.png",
   "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 — the attached LOCATION PHOTOGRAPH shows the exact spot.\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: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped 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\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\n\nIMMOBILE CHARACTER POSE — CANONICAL (this exact wording recurs in every shot where this character appears; if MOVEMENT, FIGURES or CARRIED STATE conflicts with it, THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\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": "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/s37/panels/S12sh11.png"
    },
    {
     "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.",
     "path": "out/s37/plate_daughter_bedroom_night_doorway_wide.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"
    }
   ]
  },
  "S12sh18": {
   "gkey": "rooftop_room_interior",
   "prev_used": "S12sh11",
   "panel_used": false,
   "plate": "(미첨부 — prev 잠금)",
   "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 — the attached PREVIOUS SHOT STILL shows this exact place.\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 hand remains clenched 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 are progressively FARTHER behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n\nIMMOBILE CHARACTER POSE — CANONICAL (this exact wording recurs in every shot where this character appears; if MOVEMENT, FIGURES or CARRIED STATE conflicts with it, THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\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. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.",
     "path": "out/s37/stills/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",
   "prev_used": "S12sh18",
   "panel_used": false,
   "plate": "(미첨부 — prev 잠금)",
   "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 — the attached PREVIOUS SHOT STILL shows this exact place.\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\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\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. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.",
     "path": "out/s37/stills/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",
   "prev_used": "S12sh11",
   "panel_used": false,
   "plate": "(미첨부 — prev 잠금)",
   "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 — the attached PREVIOUS SHOT STILL shows this exact place.\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\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\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. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.",
     "path": "out/s37/stills/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",
   "prev_used": "S14sh5",
   "panel_used": false,
   "plate": "(미첨부 — prev 잠금)",
   "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 — the attached PREVIOUS SHOT STILL shows this exact place.\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\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\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. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.",
     "path": "out/s37/stills/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",
   "prev_used": null,
   "plate": "plate_entry_night_inward_view.png",
   "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 — the attached LOCATION PHOTOGRAPH shows the exact spot.\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: 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\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\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/s37/panels/S14sh11.png"
    },
    {
     "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.",
     "path": "out/s37/plate_entry_night_inward_view.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"
    }
   ]
  },
  "S18sh11": {
   "gkey": "rooftop_room_interior",
   "prev_used": "S12sh21",
   "panel_used": false,
   "plate": "(미첨부 — prev 잠금)",
   "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 — the attached PREVIOUS SHOT STILL shows this exact place.\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\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror 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": "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. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.",
     "path": "out/s37/stills/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",
   "prev_used": "S5sh5",
   "panel_used": false,
   "plate": "(미첨부 — prev 잠금)",
   "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 — the attached PREVIOUS SHOT STILL shows this exact place.\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\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\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/s37/stills/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",
   "prev_used": "S18sh15",
   "panel_used": false,
   "plate": "(미첨부 — prev 잠금)",
   "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 — the attached PREVIOUS SHOT STILL shows this exact place.\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\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with 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/s37/stills/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",
   "prev_used": null,
   "plate": "plate_living_dining_sunset_floor_view.png",
   "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 — the attached LOCATION PHOTOGRAPH shows the exact spot.\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\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the stained old photograph pinned at its center are already present in Suri-young’s 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/s37/panels/S25sh1.png"
    },
    {
     "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.",
     "path": "out/s37/plate_living_dining_sunset_floor_view.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",
   "prev_used": "S12sh21",
   "panel_used": false,
   "plate": "(미첨부 — prev 잠금)",
   "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 — the attached PREVIOUS SHOT STILL shows this exact place.\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\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle.\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. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.",
     "path": "out/s37/stills/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",
   "prev_used": "S25sh5",
   "panel_used": false,
   "plate": "(미첨부 — prev 잠금)",
   "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 — the attached PREVIOUS SHOT STILL shows this exact place.\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\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\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. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.",
     "path": "out/s37/stills/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",
   "prev_used": null,
   "plate": "plate_living_dining_sunset_floor_view.png",
   "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 — the attached LOCATION PHOTOGRAPH shows the exact spot.\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: 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\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\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/s37/panels/S27sh3.png"
    },
    {
     "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.",
     "path": "out/s37/plate_living_dining_sunset_floor_view.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"
    }
   ]
  }
 },
 "pose_canon": [
  {
   "basis_ko": "“커튼을 젖히자 앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙”, “엄마 손안에 구겨진 사진 한 장이 보인다”, 샷 설명의 “민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태”",
   "character_ko": "민숙",
   "pose_en": "Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.",
   "shots": [
    "S12sh11",
    "S12sh18"
   ]
  }
 ],
 "pose_fix": {
  "S12sh11": {
   "carried_en": "Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the blood and bloody footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.",
   "figures_en": "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.",
   "movement_en": "static: lifeless Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way."
  },
  "S12sh18": {
   "carried_en": "Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and blood undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.",
   "figures_en": "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 are progressively FARTHER behind it.",
   "movement_en": "static: lifeless Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera."
  }
 }
}