{ "sheets": { "rooftop_room_exterior_0": { "gkey": "rooftop_room_exterior", "file": "conti38_rooftop_room_exterior_0.png", "shots": [ "S4sh1", "S10sh6", "S10sh7", "S11sh5", "S17sh2" ], "slots": 6, "prompt": "Draw ONE storyboard layout sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. Each panel contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION (same in all drawn panels): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1 (S4sh1)\n SHOT TEXT (authoritative, Korean): 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 (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\nPANEL 2 (S10sh6)\n SHOT TEXT (authoritative, Korean): 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 (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\nPANEL 3 (S10sh7)\n SHOT TEXT (authoritative, Korean): 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 (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\nPANEL 4 (S11sh5)\n SHOT TEXT (authoritative, Korean): 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 (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\nPANEL 5 (S17sh2)\n SHOT TEXT (authoritative, Korean): 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 (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nThere are 5 shots but 6 panel slots: draw the shots in\npanels 1..5 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: the ONLY allowed marking is a small shot number digit (1, 2, 3, 4, 5) in a corner INSIDE each drawn panel. The grid fills the entire image edge-to-edge; panels separated only by thin straight black gutter lines at the exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "exterior_metal_staircase_0": { "gkey": "exterior_metal_staircase", "file": "conti38_exterior_metal_staircase_0.png", "shots": [ "S11sh4" ], "slots": 2, "prompt": "Draw ONE storyboard layout sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. Each panel contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION (same in all drawn panels): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1 (S11sh4)\n SHOT TEXT (authoritative, Korean): 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 (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nThere are 1 shots but 2 panel slots: draw the shots in\npanels 1..1 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: the ONLY allowed marking is a small shot number digit (1) in a corner INSIDE each drawn panel. The grid fills the entire image edge-to-edge; panels separated only by thin straight black gutter lines at the exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "residential_alley_courtyard_0": { "gkey": "residential_alley_courtyard", "file": "conti38_residential_alley_courtyard_0.png", "shots": [ "S13sh4", "S13sh6" ], "slots": 2, "prompt": "Draw ONE storyboard layout sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. Each panel contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION (same in all drawn panels): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1 (S13sh4)\n SHOT TEXT (authoritative, Korean): 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 (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\nPANEL 2 (S13sh6)\n SHOT TEXT (authoritative, Korean): 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 (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nABSOLUTELY NO TEXT anywhere: the ONLY allowed marking is a small shot number digit (1, 2) in a corner INSIDE each drawn panel. The grid fills the entire image edge-to-edge; panels separated only by thin straight black gutter lines at the exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "rooftop_room_interior_0": { "gkey": "rooftop_room_interior", "file": "conti38_rooftop_room_interior_0.png", "shots": [ "S5sh5", "S5sh9", "S12sh11", "S12sh18", "S12sh21", "S14sh5", "S14sh7", "S14sh11" ], "slots": 8, "prompt": "Draw ONE storyboard layout 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.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. Each panel contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION (same in all drawn panels): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict 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\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1 (S5sh5)\n SHOT TEXT (authoritative, Korean): 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 (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 across panels): 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.\nPANEL 2 (S5sh9)\n SHOT TEXT (authoritative, Korean): 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 (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 across panels): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\nPANEL 3 (S12sh11)\n SHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n MOVEMENT (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 FIGURES — apparent 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 CARRIED STATE (persist exactly across panels): 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.\nPANEL 4 (S12sh18)\n SHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n MOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\n FIGURES — apparent 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 CARRIED STATE (persist exactly across panels): 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.\nPANEL 5 (S12sh21)\n SHOT TEXT (authoritative, Korean): 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 (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 across panels): 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.\nPANEL 6 (S14sh5)\n SHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n MOVEMENT (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 FIGURES — apparent 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 CARRIED STATE (persist exactly across panels): 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.\nPANEL 7 (S14sh7)\n SHOT TEXT (authoritative, Korean): 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 (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 across panels): 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.\nPANEL 8 (S14sh11)\n SHOT TEXT (authoritative, Korean): 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 (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 across panels): 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\nABSOLUTELY NO TEXT anywhere: the ONLY allowed marking is a small shot number digit (1, 2, 3, 4, 5, 6, 7, 8) in a corner INSIDE each drawn panel. The grid fills the entire image edge-to-edge; panels separated only by thin straight black gutter lines at the exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." }, "rooftop_room_interior_1": { "gkey": "rooftop_room_interior", "file": "conti38_rooftop_room_interior_1.png", "shots": [ "S18sh11", "S18sh15", "S18sh16", "S25sh1", "S25sh5", "S25sh9", "S27sh3" ], "slots": 8, "prompt": "Draw ONE storyboard layout 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.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. Each panel contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION (same in all drawn panels): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1 (S18sh11)\n SHOT TEXT (authoritative, Korean): 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 (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 across panels): 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.\nPANEL 2 (S18sh15)\n SHOT TEXT (authoritative, Korean): 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 (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 across panels): 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.\nPANEL 3 (S18sh16)\n SHOT TEXT (authoritative, Korean): 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 (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 across panels): 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.\nPANEL 4 (S25sh1)\n SHOT TEXT (authoritative, Korean): 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 (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 across panels): 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.\nPANEL 5 (S25sh5)\n SHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n MOVEMENT (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 FIGURES — apparent 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 CARRIED STATE (persist exactly across panels): 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.\nPANEL 6 (S25sh9)\n SHOT TEXT (authoritative, Korean): 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 (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 across panels): 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.\nPANEL 7 (S27sh3)\n SHOT TEXT (authoritative, Korean): 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 (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 across panels): 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\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: the ONLY allowed marking is a small shot number digit (1, 2, 3, 4, 5, 6, 7) in a corner INSIDE each drawn panel. The grid fills the entire image edge-to-edge; panels separated only by thin straight black gutter lines at the exact stated positions; ALL PANELS EXACTLY THE SAME SIZE." } }, "still_meta": { "S4sh1": { "gkey": "rooftop_room_exterior", "prev_used": null, "prev_usage": "", "ref_mode": "경량콘티+플레이트+엔티티", "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\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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": "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "path": "out/s38/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/s38/bg4_S4sh1.png" } ] }, "S10sh6": { "gkey": "rooftop_room_exterior", "prev_used": null, "prev_usage": "", "ref_mode": "경량콘티+플레이트+엔티티", "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\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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": "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "path": "out/s38/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/s38/bg4_S10sh6.png" } ] }, "S10sh7": { "gkey": "rooftop_room_exterior", "prev_used": "S10sh6", "prev_usage": "Take the rooftop dwelling's aged exterior materials, metal fixtures, dark interior tone, and nighttime lighting from the reference. Preserve the slightly opened entrance door as an ongoing state where it remains visible. Exclude the shoe tip and the doorway-focused composition; do not place the intruder visibly in the window-shadow frame.", "ref_mode": "prev 단독", "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\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the rooftop dwelling's aged exterior materials, metal fixtures, dark interior tone, and nighttime lighting from the reference. Preserve the slightly opened entrance door as an ongoing state where it remains visible. Exclude the shoe tip and the doorway-focused composition; do not place the intruder visibly in the window-shadow frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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. 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/s38/stills/S10sh6_nb2.png" } ] }, "S11sh5": { "gkey": "rooftop_room_exterior", "prev_used": "S10sh6", "prev_usage": "Take the aged rooftop surface, metal entrance door, surrounding exterior materials, and nighttime illumination from the reference. Keep the entrance door visibly open to the degree required by the current scene. Exclude the stranger's shoe and any suggestion that the stranger is still standing at the doorway.", "ref_mode": "prev 단독", "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\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the aged rooftop surface, metal entrance door, surrounding exterior materials, and nighttime illumination from the reference. Keep the entrance door visibly open to the degree required by the current scene. Exclude the stranger's shoe and any suggestion that the stranger is still standing at the doorway.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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: 수리영 — 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/s38/stills/S10sh6_nb2.png" } ] }, "S17sh2": { "gkey": "rooftop_room_exterior", "prev_used": null, "prev_usage": "", "ref_mode": "경량콘티+플레이트+엔티티", "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\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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": "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "path": "out/s38/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/s38/bg4_S17sh2.png" } ] }, "S11sh4": { "gkey": "exterior_metal_staircase", "prev_used": null, "prev_usage": "", "ref_mode": "경량콘티+플레이트+엔티티", "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\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "path": "out/s38/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/s38/bg4_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, "prev_usage": "", "ref_mode": "경량콘티+플레이트+엔티티", "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\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "path": "out/s38/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/s38/bg4_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", "prev_usage": "Take the confined courtyard's concrete surfaces, building entrances, access structure, and nighttime emergency ambience from the reference. Preserve the young woman's standing position in the same ground-level area. Exclude her earlier vacant stare and empty-air eyeline; frame her now looking up at the approaching woman.", "ref_mode": "prev 단독", "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\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the confined courtyard's concrete surfaces, building entrances, access structure, and nighttime emergency ambience from the reference. Preserve the young woman's standing position in the same ground-level area. Exclude her earlier vacant stare and empty-air eyeline; frame her now looking up at the approaching woman.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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: 수리영, 혜수 — 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/s38/stills/S13sh4_nb2.png" } ] }, "S5sh5": { "gkey": "rooftop_room_interior", "prev_used": null, "prev_usage": "", "ref_mode": "경량콘티+플레이트+엔티티", "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\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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: 민숙 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "path": "out/s38/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", "prev_usage": "Take the cramped living area's worn materials, daylight, and the woman's apron and position from the reference. Preserve the continuity of her wrist and its small circular mark. Exclude the TV-button-pressing action and any wider room elements that fall outside this tight wrist framing.", "ref_mode": "prev 단독", "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\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight, and the woman's apron and position from the reference. Preserve the continuity of her wrist and its small circular mark. Exclude the TV-button-pressing action and any wider room elements that fall outside this tight wrist framing.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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: 민숙 — 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/s38/stills/S5sh5_nb2.png" } ] }, "S12sh11": { "gkey": "rooftop_room_interior", "prev_used": null, "prev_usage": "", "ref_mode": "경량콘티+플레이트+엔티티", "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\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict 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\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "path": "out/s38/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", "prev_usage": "Take the bedroom's dim nighttime look and the seated woman's fixed body, clothing, and hand position from the reference. Preserve the bloodied condition and the crumpled photograph held in her hand. Exclude the wider view of her body, wounds, bed, and curtain from this tight photograph insert.", "ref_mode": "prev 단독", "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\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the bedroom's dim nighttime look and the seated woman's fixed body, clothing, and hand position from the reference. Preserve the dark-stained condition and the crumpled photograph held in her hand. Exclude the wider view of her body, wounds, bed, and curtain from this tight photograph insert.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict 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\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — 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/s38/stills/S12sh11_nb2.png" } ] }, "S12sh21": { "gkey": "rooftop_room_interior", "prev_used": "S12sh11", "prev_usage": "Take the worn bedroom wall, bed placement, dim nighttime lighting, and the continuing bloody room state from the reference. Keep the seated body and blood evidence spatially consistent even when they fall outside the crop. Exclude the corpse and handheld photograph from the wall-focused frame, and show only the newly forming red circle on the wall.", "ref_mode": "prev 단독", "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\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall, bed placement, dim nighttime lighting, and the continuing dark-stained room state from the reference. Keep the seated body and dark stains evidence spatially consistent even when they fall outside the crop. Exclude the motionless figure and handheld photograph from the wall-focused frame, and show only the newly forming red circle on the wall.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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: 민숙 (환시) — 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/s38/stills/S12sh11_nb2.png" } ] }, "S14sh5": { "gkey": "rooftop_room_interior", "prev_used": "S12sh11", "prev_usage": "Take only the bedroom's fixed architecture, worn wall materials, bed placement, curtain, and nighttime lighting from the reference. Preserve the same camera-space layout. Exclude the dead woman, all bloodstains, bloody footprints, wounds, and the earlier disturbed state so the room appears unnaturally clean.", "ref_mode": "prev 단독", "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\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take only the bedroom's fixed architecture, worn wall materials, bed placement, curtain, and nighttime lighting from the reference. Preserve the same camera-space layout. Exclude the dead woman, all dark stainsstains, dark-stained footprints, wounds, and the earlier disturbed state so the room appears unnaturally clean.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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: 수리영, 혜수 — 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/s38/stills/S12sh11_nb2.png" } ] }, "S14sh7": { "gkey": "rooftop_room_interior", "prev_used": "S14sh5", "prev_usage": "Take the spotless bedroom layout, fixed furnishings, worn surfaces, and nighttime lighting from the reference. Keep the room free of blood, a body, and the red wall mark. Exclude the wide empty-room composition from the close-up, showing only as much background as supports the woman's stunned gaze.", "ref_mode": "prev 단독", "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\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the spotless bedroom layout, fixed furnishings, worn surfaces, and nighttime lighting from the reference. Keep the room free of dark stains, a body, and the red wall mark. Exclude the wide empty-room composition from the close-up, showing only as much background as supports the woman's stunned gaze.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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: 수리영 — 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/s38/stills/S14sh5_nb2.png" } ] }, "S14sh11": { "gkey": "rooftop_room_interior", "prev_used": null, "prev_usage": "", "ref_mode": "경량콘티+플레이트+엔티티", "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\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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: 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "path": "out/s38/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": null, "prev_usage": "", "ref_mode": "경량콘티+플레이트+엔티티", "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 LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "path": "out/s38/panels/S18sh11.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_bathroom_day_mirror_tile_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 — 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", "prev_usage": "Take the cramped living area's worn materials, daylight quality, and established domestic look from the reference. Preserve the framed family photograph as an object belonging in this room. Exclude the apron-wearing woman, the TV-button action, and unrelated furniture from the tight photograph framing.", "ref_mode": "prev 단독", "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\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight quality, and established domestic look from the reference. Preserve the framed family photograph as an object belonging in this room. Exclude the apron-wearing woman, the TV-button action, and unrelated furniture from the tight photograph framing.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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. 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/s38/stills/S5sh5_nb2.png" } ] }, "S18sh16": { "gkey": "rooftop_room_interior", "prev_used": "S5sh5", "prev_usage": "Take the same worn living-room materials, small-window daylight, sparse furnishings, and established room layout from the reference. Use only the background continuity and place the distressed young woman within that space. Exclude the apron-wearing woman and the earlier TV-button-pressing action, and do not reproduce the distorted photograph as the main subject.", "ref_mode": "prev 단독", "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\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same worn living-room materials, small-window daylight, sparse furnishings, and established room layout from the reference. Use only the background continuity and place the distressed young woman within that space. Exclude the apron-wearing woman and the earlier TV-button-pressing action, and do not reproduce the distorted photograph as the main subject.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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: 수리영 — 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/s38/stills/S5sh5_nb2.png" } ] }, "S25sh1": { "gkey": "rooftop_room_interior", "prev_used": null, "prev_usage": "", "ref_mode": "경량콘티+플레이트+엔티티", "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\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere.", "refs": [ { "label": "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "path": "out/s38/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": null, "prev_usage": "", "ref_mode": "경량콘티+플레이트+엔티티", "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 LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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": "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "path": "out/s38/panels/S25sh5.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_sunset_bed_wall.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", "prev_usage": "Take the worn bedroom wall texture, sunset illumination, and the continuing red circle from the reference. Preserve the same bloodstained old photograph after it has been pulled from the wall. Exclude the pinning position and empty the center of the wall mark; focus instead on the hand tightly gripping the photograph.", "ref_mode": "prev 단독", "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\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall texture, sunset illumination, and the continuing red circle from the reference. Preserve the same stained old photograph after it has been pulled from the wall. Exclude the pinning position and empty the center of the wall mark; focus instead on the hand tightly gripping the photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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: 수리영 — 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/s38/stills/S25sh5_nb2.png" } ] }, "S27sh3": { "gkey": "rooftop_room_interior", "prev_used": "S25sh1", "prev_usage": "Take the ransacked living area's worn materials, sunset light, open-window condition, muddy footprints, and overturned chairs from the reference as continuing environmental state. Place the middle-aged woman with her smartphone within that same room. Exclude the earlier empty wide-floor emphasis, and do not add the young woman, her backpack, or the bloodstained photograph to this close-up.", "ref_mode": "prev 단독", "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 PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the ransacked living area's worn materials, sunset light, open-window condition, muddy footprints, and overturned chairs from the reference as continuing environmental state. Place the middle-aged woman with her smartphone within that same room. Exclude the earlier empty wide-floor emphasis, and do not add the young woman, her backpack, or the stained photograph to this close-up.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\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: 혜수 — 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/s38/stills/S25sh1_nb2.png" } ] } }, "prev2": { "S4sh1": { "prev": null, "reason_ko": "선행 동일 옥상 배경 없음", "shot": "S4sh1", "usage_en": "" }, "S5sh5": { "prev": null, "reason_ko": "선행 샷과 LOCATION 상이", "shot": "S5sh5", "usage_en": "" }, "S5sh9": { "prev": "S5sh5", "reason_ko": "같은 낮 거실·식사 공간", "shot": "S5sh9", "usage_en": "Take the cramped living area's worn materials, daylight, and the woman's apron and position from the reference. Preserve the continuity of her wrist and its small circular mark. Exclude the TV-button-pressing action and any wider room elements that fall outside this tight wrist framing." }, "S10sh6": { "prev": null, "reason_ko": "동일 옥상이지만 낮에서 밤으로 시간대 상이", "shot": "S10sh6", "usage_en": "" }, "S10sh7": { "prev": "S10sh6", "reason_ko": "같은 밤 옥상과 옥탑방 외벽", "shot": "S10sh7", "usage_en": "Take the rooftop dwelling's aged exterior materials, metal fixtures, dark interior tone, and nighttime lighting from the reference. Preserve the slightly opened entrance door as an ongoing state where it remains visible. Exclude the shoe tip and the doorway-focused composition; do not place the intruder visibly in the window-shadow frame." }, "S11sh4": { "prev": null, "reason_ko": "선행 샷들과 LOCATION 상이한 외부 계단", "shot": "S11sh4", "usage_en": "" }, "S11sh5": { "prev": "S10sh6", "reason_ko": "같은 밤 옥상의 동일 현관 철문 구역", "shot": "S11sh5", "usage_en": "Take the aged rooftop surface, metal entrance door, surrounding exterior materials, and nighttime illumination from the reference. Keep the entrance door visibly open to the degree required by the current scene. Exclude the stranger's shoe and any suggestion that the stranger is still standing at the doorway." }, "S12sh11": { "prev": null, "reason_ko": "선행 샷과 LOCATION 상이한 딸의 방 내부", "shot": "S12sh11", "usage_en": "" }, "S12sh18": { "prev": "S12sh11", "reason_ko": "같은 밤 딸의 방과 동일한 시신 위치", "shot": "S12sh18", "usage_en": "Take the bedroom's dim nighttime look and the seated woman's fixed body, clothing, and hand position from the reference. Preserve the bloodied condition and the crumpled photograph held in her hand. Exclude the wider view of her body, wounds, bed, and curtain from this tight photograph insert." }, "S12sh21": { "prev": "S12sh11", "reason_ko": "같은 밤 딸의 방 배경이며 직전 인서트는 앵커 부적합", "shot": "S12sh21", "usage_en": "Take the worn bedroom wall, bed placement, dim nighttime lighting, and the continuing bloody room state from the reference. Keep the seated body and blood evidence spatially consistent even when they fall outside the crop. Exclude the corpse and handheld photograph from the wall-focused frame, and show only the newly forming red circle on the wall." }, "S13sh4": { "prev": null, "reason_ko": "선행 샷과 LOCATION 상이한 지상 골목·마당", "shot": "S13sh4", "usage_en": "" }, "S13sh6": { "prev": "S13sh4", "reason_ko": "같은 밤 지상 골목·마당 배경", "shot": "S13sh6", "usage_en": "Take the confined courtyard's concrete surfaces, building entrances, access structure, and nighttime emergency ambience from the reference. Preserve the young woman's standing position in the same ground-level area. Exclude her earlier vacant stare and empty-air eyeline; frame her now looking up at the approaching woman." }, "S14sh5": { "prev": "S12sh11", "reason_ko": "같은 밤 딸의 방이나 시신과 혈흔 상태만 변화", "shot": "S14sh5", "usage_en": "Take only the bedroom's fixed architecture, worn wall materials, bed placement, curtain, and nighttime lighting from the reference. Preserve the same camera-space layout. Exclude the dead woman, all bloodstains, bloody footprints, wounds, and the earlier disturbed state so the room appears unnaturally clean." }, "S14sh7": { "prev": "S14sh5", "reason_ko": "같은 밤 딸의 방이며 앞 샷에 깨끗한 방 전경 노출", "shot": "S14sh7", "usage_en": "Take the spotless bedroom layout, fixed furnishings, worn surfaces, and nighttime lighting from the reference. Keep the room free of blood, a body, and the red wall mark. Exclude the wide empty-room composition from the close-up, showing only as much background as supports the woman's stunned gaze." }, "S14sh11": { "prev": null, "reason_ko": "직전 딸의 방과 LOCATION 서술 상이한 현관 구역", "shot": "S14sh11", "usage_en": "" }, "S17sh2": { "prev": null, "reason_ko": "동일 옥상 선행 샷들과 시간대 상이", "shot": "S17sh2", "usage_en": "" }, "S18sh11": { "prev": null, "reason_ko": "선행 동일 욕실 배경 없음", "shot": "S18sh11", "usage_en": "" }, "S18sh15": { "prev": "S5sh5", "reason_ko": "같은 낮 거실·식사 공간이며 직전 욕실과는 별도 구역", "shot": "S18sh15", "usage_en": "Take the cramped living area's worn materials, daylight quality, and established domestic look from the reference. Preserve the framed family photograph as an object belonging in this room. Exclude the apron-wearing woman, the TV-button action, and unrelated furniture from the tight photograph framing." }, "S18sh16": { "prev": "S5sh5", "reason_ko": "같은 낮 거실이며 직전 액자 인서트는 장소 앵커 부적합", "shot": "S18sh16", "usage_en": "Take the same worn living-room materials, small-window daylight, sparse furnishings, and established room layout from the reference. Use only the background continuity and place the distressed young woman within that space. Exclude the apron-wearing woman and the earlier TV-button-pressing action, and do not reproduce the distorted photograph as the main subject." }, "S25sh1": { "prev": null, "reason_ko": "해질 무렵 거실 바닥 구역의 선행 동일 LOCATION 없음", "shot": "S25sh1", "usage_en": "" }, "S25sh5": { "prev": null, "reason_ko": "선행 샷과 LOCATION 서술 상이한 딸의 방 벽면", "shot": "S25sh5", "usage_en": "" }, "S25sh9": { "prev": "S25sh5", "reason_ko": "같은 해질 무렵 딸의 방 침대 벽면", "shot": "S25sh9", "usage_en": "Take the worn bedroom wall texture, sunset illumination, and the continuing red circle from the reference. Preserve the same bloodstained old photograph after it has been pulled from the wall. Exclude the pinning position and empty the center of the wall mark; focus instead on the hand tightly gripping the photograph." }, "S27sh3": { "prev": "S25sh1", "reason_ko": "같은 해질 무렵 거실 바닥 구역", "shot": "S27sh3", "usage_en": "Take the ransacked living area's worn materials, sunset light, open-window condition, muddy footprints, and overturned chairs from the reference as continuing environmental state. Place the middle-aged woman with her smartphone within that same room. Exclude the earlier empty wide-floor emphasis, and do not add the young woman, her backpack, or the bloodstained photograph to this close-up." } }, "plate_chain": { "S4sh1": { "totals": { "A": 9, "B": 15, "C": 14 }, "selected": "B", "verdicts": { "gpt": [ { "label": "C", "score": 9, "verdict_ko": "녹색 옥상, 옥탑방·문·창문, 물탱크와 건조대, 외부계단의 배치가 마스터에 가장 가깝고 인천 노후 주거지의 질감도 자연스럽다." }, { "label": "B", "score": 8, "verdict_ko": "전체 층수와 계단 전 구간, 주변 골목은 충실하지만 물탱크가 창 앞 플랫폼 중앙으로 치우쳐 마스터의 우측 배치와 차이가 난다." }, { "label": "A", "score": 5, "verdict_ko": "외부계단과 옥탑방 형태는 일관되지만 옥상 방수층 색이 회색으로 바뀌고 핵심 물탱크가 누락되어 프롬프트와 마스터 충실도가 크게 떨어진다." } ], "gemini-pro": [ { "label": "A", "score": 4, "verdict_ko": "물탱크와 빨랫줄 등 프롬프트가 요구한 주요 옥상 구조물이 완전히 누락되어 일치도가 낮습니다." }, { "label": "B", "score": 7, "verdict_ko": "빨랫줄은 없으나 물탱크, 평상, 외부 계단 및 마당의 자전거까지 원본의 디테일과 구도를 가장 잘 재현했습니다." }, { "label": "C", "score": 5, "verdict_ko": "물탱크와 평상은 존재하나 마당의 자전거 등 1층 세부 묘사가 부족하고 빨랫줄이 누락되었습니다." } ] }, "critique": { "gpt": [ { "fix_en": "Extend the framing downward to include the complete lower storeys, enclosed front yard, boundary walls, and street gates exactly as shown in the master, changing nothing else.", "issue_ko": "하단 층과 앞마당, 담장, 대문이 프레임에서 잘렸다." }, { "fix_en": "Restore the clothesline to its master-image position across the middle of the roof terrace, changing nothing else.", "issue_ko": "빨랫줄 위치가 마스터보다 뒤쪽으로 옮겨졌다." }, { "fix_en": "Hang the same assortment of laundry visible on the master clothesline, changing nothing else.", "issue_ko": "마스터의 빨랫줄 세탁물이 모두 빠졌다." }, { "fix_en": "Add the master-matching piles of drying herbs on and beside the wooden platform, changing nothing else.", "issue_ko": "건조대와 주변의 말리는 약초가 사라졌다." } ], "gemini-pro": [ { "issue_ko": "가로 세로 비율과 화각이 원본과 다름 (와이드 포맷으로 변경됨).", "fix_en": "Crop the image to match the 1:1 aspect ratio and the exact framing of the master photograph." }, { "issue_ko": "원경의 건물 배치와 형태가 원본과 다름 (우측 건물들의 색상, 모양 변경).", "fix_en": "Reconstruct the background buildings on the right side to match the red brick and grey structures of the master photograph exactly." }, { "issue_ko": "좌측 골목길의 형태, 너비, 전봇대 위치가 원본과 다름.", "fix_en": "Realign the narrow alleyway on the left, adjusting the utility pole position and paving to match the master image." }, { "issue_ko": "1층 마당과 담장, 대문이 원본과 다르게 표현됨 (대문이 누락되고 구조가 변경됨).", "fix_en": "Rebuild the ground floor courtyard, adding the metal gate, low walls, and specific potted plants layout seen in the master image." }, { "issue_ko": "외부 계단의 형태와 위치, 난간 디테일이 원본과 일치하지 않음 (계단이 너무 복잡하게 꼬여 있음).", "fix_en": "Redraw the exterior metal staircase to follow the exact geometric run, landings, and railing style of the master photograph." }, { "issue_ko": "옥상 빨랫줄에 널려 있던 빨래가 누락됨.", "fix_en": "Add the clothesline with hanging clothes to the left side of the rooftop." }, { "issue_ko": "옥상 물탱크 앞 나무 평상의 위치와 방향이 원본과 다름.", "fix_en": "Reposition the wooden platform on the rooftop to sit directly in front of the water tank with the correct orientation." }, { "issue_ko": "건물 외벽의 질감, 창문 크기 및 배치가 원본과 부분적으로 다름 (특히 2층 우측 창문).", "fix_en": "Adjust the proportions, placement, and framing of the windows on the main building facade to exactly replicate the master photograph." }, { "issue_ko": "옥상 출입문(옥탑방 문)의 위치와 디테일이 원본과 다름 (문이 계단 쪽으로 치우침).", "fix_en": "Move the rooftop entrance door slightly to the right and match its rusted metal texture to the master image." }, { "issue_ko": "1층에 자전거가 누락됨.", "fix_en": "Place a bicycle on the ground floor next to the staircase." } ] }, "fix_skipped": false, "prefix": "bg4" }, "S10sh6": { "totals": { "A": 8, "B": 14, "C": 10 }, "selected": "B", "verdicts": { "gpt": [ { "label": "B", "score": 7, "verdict_ko": "유일하게 금속문이 닫힌 정상 상태이고 저각·야간·풍화 질감도 충족하지만, 마스터의 파란 창·우편함 문형과 문 옆 배치는 다르다." }, { "label": "C", "score": 5, "verdict_ko": "극저각 구도와 마스터의 물탱크·녹색 옥상 바닥 배치는 잘 반영했으나, 문이 크게 열려 있어 ‘닫힌 문’이라는 핵심 조건을 위반한다." }, { "label": "A", "score": 4, "verdict_ko": "문턱과 어두운 내부의 근접 표현은 자연스럽지만 문이 열려 있고, 배경 난간·계단 및 출입부 구성이 마스터와 가장 덜 일치한다." } ], "gemini-pro": [ { "label": "A", "score": 4, "verdict_ko": "문을 닫으라는 지시를 위반하여 열린 상태로 묘사되었으며, 좌측 난간 등의 배치가 마스터 사진과 어긋납니다." }, { "label": "B", "score": 7, "verdict_ko": "문을 닫힌 상태로 유지하라는 핵심 지시를 유일하게 준수했고, 좌측 계단과 우측 물탱크의 공간적 배치도 마스터와 일치합니다." }, { "label": "C", "score": 5, "verdict_ko": "우측 물탱크의 위치는 마스터 사진과 유사하게 재현되었으나, 문을 닫아두라는 명시적인 프롬프트 지시를 위반했습니다." } ] }, "critique": { "gpt": [ { "fix_en": "Reposition the camera directly in front of the entrance at an extremely low angle while changing nothing else.", "issue_ko": "카메라가 출입문 정면이 아니라 옆에서 비스듬히 촬영됐다." }, { "fix_en": "Replace the large dark glazed panel with the master’s opaque blue-gray metal door featuring only its small blue upper window, while changing nothing else.", "issue_ko": "큰 유리 패널형 문이 마스터의 작은 파란 창이 달린 불투명 철문과 다르다." }, { "fix_en": "Restore the master door’s visible knob, vertical pull handle, and mail slot while changing nothing else.", "issue_ko": "마스터 철문의 손잡이·세로 핸들·우편 투입구가 사라졌다." }, { "fix_en": "Replace the raised multi-tier metal sill with the master’s simple flat threshold and rectangular doormat while changing nothing else.", "issue_ko": "과도하게 솟은 금속 문턱이 생겼고 마스터의 평평한 문턱과 발판이 없다." }, { "fix_en": "Reconfigure the visible stair so it approaches the rooftop landing from the front-left as in the master, rather than rising behind the doorway, while changing nothing else.", "issue_ko": "계단이 문 뒤쪽으로 올라가 마스터의 전면 좌측 접근 동선과 불일치한다." }, { "fix_en": "Match the entry wall to the master’s smooth pale-gray exterior finish while changing nothing else.", "issue_ko": "거친 크림색 벽 마감이 마스터의 매끈한 연회색 외벽과 다르다." } ], "gemini-pro": [ { "issue_ko": "문이 원본의 철문(작은 창문과 우편함 포함)이 아닌 거대한 단일 어두운 유리 패널로 생성되었습니다.", "fix_en": "Change the large dark glass panel in the doorframe to a solid metal door featuring a small upper window and a mail slot." }, { "issue_ko": "왼쪽 배경에 원본 건물 옥상 구조와 일치하지 않는 위로 향하는 계단이 생성되었습니다.", "fix_en": "Remove the upward-leading staircase in the left background and replace it with the open rooftop area." }, { "issue_ko": "화면 왼쪽 근경에 원본 옥상 동선에 존재하지 않는 두꺼운 콘크리트 벽이 나타났습니다.", "fix_en": "Remove the thick concrete wall in the left foreground to show the continuous flat green rooftop floor." } ] }, "fix_skipped": false, "prefix": "bg4" }, "S10sh7": { "totals": { "A": 15, "B": 7, "C": 13 }, "selected": "A", "verdicts": { "gpt": [ { "label": "A", "score": 9, "verdict_ko": "마스터의 옥상방·창문·문·물탱크·계단·난간 배치와 인천 주거지 질감을 가장 충실히 유지하며, 창만 자연스럽게 빛나고 인물이나 문자도 보이지 않는다." }, { "label": "C", "score": 8, "verdict_ko": "마스터의 전체 매싱과 외부계단 및 옥상 설비는 매우 잘 맞지만, 창뿐 아니라 원래 불투명한 출입문까지 강하게 발광해 기준 상태에서 다소 벗어난다." }, { "label": "B", "score": 4, "verdict_ko": "창을 정면으로 강조한 야간 구도는 좋지만 옥상방이 중앙의 독립 벽체처럼 바뀌어 마스터의 문·물탱크·계단 관계가 소실됐고 배경에 읽힐 수 있는 간판도 보인다." } ], "gemini-pro": [ { "label": "A", "score": 6, "verdict_ko": "마스터 사진의 전체적인 구도와 창문 조명을 가장 잘 살렸으나, 1층 대문과 마당이 막힌 벽으로 왜곡되어 계단 하부 구조의 일관성이 부족합니다." }, { "label": "B", "score": 3, "verdict_ko": "카메라 시점을 테라스 위로 변경했으나 옥탑방 문이 완전히 누락되었고, 배경 우측 건물에 읽을 수 있는 간판 텍스트가 등장하여 금지 지침을 위반했습니다." }, { "label": "C", "score": 5, "verdict_ko": "야간 분위기는 무난하게 구현되었으나 본래 철제인 문이 투명한 유리문처럼 빛나며, A와 마찬가지로 1층 대문과 마당 구조가 형태를 잃고 생략되었습니다." } ] }, "critique": { "gpt": [ { "fix_en": "Lower and reposition the camera to the opposite side of the open roof terrace at terrace-level, directly facing the established living-room window, while changing nothing else.", "issue_ko": "카메라가 테라스 건너편이 아니라 높은 공중 시점에 있다." }, { "fix_en": "Restore the master photograph’s hanging laundry on the existing rooftop clothesline while changing nothing else.", "issue_ko": "마스터에 있던 빨랫줄의 세탁물이 사라졌다." } ], "gemini-pro": [ { "issue_ko": "카메라가 옥상 테라스를 가로질러 창문을 향하지 않고, 여전히 높은 항공 뷰를 유지하고 있습니다.", "fix_en": "Lower the camera to roof level to face the window directly from across the terrace." }, { "issue_ko": "왼쪽 철제 계단의 발판과 난간이 비현실적으로 뒤틀려 있고 구조적으로 불가능한 형태를 띠고 있습니다.", "fix_en": "Redraw the metal stairs with physically coherent, horizontal treads and properly connected railings." }, { "issue_ko": "마스터 사진에 있는 옅은 갈색 타일 외벽 대신 하층부 외벽이 회색 콘크리트로 렌더링되었습니다.", "fix_en": "Change the building's lower exterior walls to tan tiles matching the master location." }, { "issue_ko": "물탱크 아래에 있는 나무 평상의 왼쪽 다리가 묘사되지 않아 바닥에 녹아내린 것처럼 보입니다.", "fix_en": "Render clear, vertical supporting legs for the left side of the wooden platform under the water tank." } ] }, "fix_skipped": false, "prefix": "bg4" }, "S11sh5": { "totals": { "A": 16, "B": 8, "C": 13 }, "selected": "A", "verdicts": { "gpt": [ { "label": "A", "score": 9, "verdict_ko": "외부계단의 연결과 난간, 우측 옥탑·문·창·물탱크·평상의 배치가 마스터와 가장 정확하며 자연스러운 야간 빈 플레이트다." }, { "label": "C", "score": 8, "verdict_ko": "문·창·물탱크의 상대 배치와 정면 시점은 충실하지만 계단 전체 동선이 덜 보이고 마스터에 없는 밝은 현관등이 추가됐다." }, { "label": "B", "score": 5, "verdict_ko": "닫힌 문과 옥상 재질은 적절하나 옥탑의 창이 사라지고 벽체·계단·물탱크 배치가 마스터와 크게 달라졌다." } ], "gemini-pro": [ { "label": "A", "score": 7, "verdict_ko": "원본의 구조(문, 창문, 평상 및 물탱크 등)를 충실히 반영하고 지시된 어두운 야간 조명을 잘 표현했으나 계단 난간 형태가 다소 부정확합니다." }, { "label": "B", "score": 3, "verdict_ko": "우측 창문이 생략되고 옥탑 구조물의 형태가 왜곡되어 원본과의 물리적 일관성이 크게 떨어집니다." }, { "label": "C", "score": 5, "verdict_ko": "전반적인 배치는 비슷하나 원본에 없는 현관 조명과 유리문이 추가되었고 평상이 파렛트로 변형되었습니다." } ] }, "critique": { "gpt": [ { "fix_en": "Reposition the camera to eye level on the rooftop stair landing, aimed horizontally and frontally at the entrance door, while changing nothing else.", "issue_ko": "시점이 옥상 계단참의 눈높이보다 높고 아래를 내려다본다." }, { "fix_en": "Restore the master's small blue inset window in the upper panel of the metal entrance door while changing nothing else.", "issue_ko": "현관문 상부의 파란 삽입창이 사라졌다." }, { "fix_en": "Remove the black transom-like opening above the entrance door to match the master's solid wall and doorframe while changing nothing else.", "issue_ko": "문 위에 마스터에 없는 검은 트랜섬이 추가됐다." }, { "fix_en": "Reduce and reposition the rooftop water tank to the master's scale and location so it only minimally overlaps the right edge of the window, while changing nothing else.", "issue_ko": "물탱크가 지나치게 크고 창문을 과도하게 가린다." }, { "fix_en": "Replace the heavy wooden tank platform with the master's smaller perforated metal platform in the same position while changing nothing else.", "issue_ko": "물탱크 받침대의 크기와 목재 구조가 마스터와 다르다." }, { "fix_en": "Restore the fixed clothesline poles and wires in their exact master-image positions while changing nothing else.", "issue_ko": "고정 빨랫줄 기둥과 선의 배치가 마스터와 일치하지 않는다." } ], "gemini-pro": [ { "issue_ko": "철문 상단의 파란색 사각 창문이 누락되었습니다.", "fix_en": "Add the square window with blue glass to the upper half of the metal door." }, { "issue_ko": "물탱크가 나무 평상 위에 있지 않고 분리되어 잘못 배치되었습니다.", "fix_en": "Move the wooden platform to the right and place the large beige water tank directly on top of it." }, { "issue_ko": "전경에 원본에 없는 복잡한 계단과 난간 구조물이 추가되어 옥상 바닥을 가립니다.", "fix_en": "Remove the foreground stairs and railings to reveal the flat open green rooftop floor leading to the door." } ] }, "fix_skipped": false, "prefix": "bg4" }, "S17sh2": { "totals": { "A": 10, "B": 17, "C": 7 }, "selected": "B", "verdicts": { "gpt": [ { "label": "A", "score": 7, "verdict_ko": "새벽 분위기와 전경 난간·옥탑 창은 충실하지만, 마스터의 외부계단 전체 동선과 물탱크·받침대가 빠져 장소 일치도가 낮다." }, { "label": "B", "score": 9, "verdict_ko": "전경 난간, 녹색 방수층, 옥탑의 문·창, 물탱크와 받침대, 연결된 외부계단까지 마스터의 핵심 배치와 인천 옥상 분위기를 가장 충실히 재현했다." }, { "label": "C", "score": 4, "verdict_ko": "난간과 새벽 질감은 자연스럽지만 옥상이 회색의 빈 공간으로 바뀌고 외부계단·물탱크·옥탑 문이 사라져 마스터의 구조와 배치에서 크게 벗어난다." } ], "gemini-pro": [ { "label": "B", "score": 8, "verdict_ko": "원본의 옥상 구조(물탱크, 문, 녹색 바닥)와 지정된 새벽 조명 및 구도를 가장 정확하게 구현했습니다." }, { "label": "A", "score": 3, "verdict_ko": "원본 사진의 핵심적인 옥상 구조물(물탱크 등)이 누락되었고 전체적인 배치가 다릅니다." }, { "label": "C", "score": 3, "verdict_ko": "옥상 위 건축물의 형태가 원본과 완전히 달라 마스터 사진과의 일관성이 크게 떨어집니다." } ] }, "critique": { "gpt": [ { "fix_en": "Replace the oversized cantilevered dwelling roof with the master's thin, shallow concrete roof slab while leaving everything else unchanged.", "issue_ko": "옥탑 지붕 슬래브가 마스터보다 지나치게 크고 깊다." }, { "fix_en": "Remove the invented unit above the door and restore only the master's small concrete door awning while leaving everything else unchanged.", "issue_ko": "문 위에 마스터에 없는 설비형 구조물이 추가됐다." }, { "fix_en": "Remove the glowing transom above the door and restore the master's solid wall above the metal door while leaving everything else unchanged.", "issue_ko": "마스터에 없는 발광 트랜섬이 출입문 위에 생겼다." }, { "fix_en": "Reposition the concrete parapet to match the master's rooftop perimeter instead of running lengthwise between the stair and roof deck, while leaving everything else unchanged.", "issue_ko": "전경 콘크리트 벽의 방향과 위치가 마스터와 다르다." }, { "fix_en": "Rebuild the exterior stair flights and landings to follow the master's switchback run and rooftop termination while leaving everything else unchanged.", "issue_ko": "외부 계단의 진행 방향과 옥상 접속부가 마스터와 불일치한다." }, { "fix_en": "Replace the dark wooden water-tank platform with the master's perforated metal platform while leaving everything else unchanged.", "issue_ko": "물탱크 받침대가 마스터의 금속 발판과 다르다." }, { "fix_en": "Restore the visible surrounding buildings, blue-tile roofs, and utility-pole layout to their exact positions and forms in the master while leaving everything else unchanged.", "issue_ko": "주변 건물과 전신주 배치가 마스터 위치와 일치하지 않는다." } ], "gemini-pro": [ { "issue_ko": "옥탑방 문에 유리가 생기고 실내 빛이 새어나옵니다.", "fix_en": "Change the glowing glass door panel to a solid metal surface with a blue rectangular patch." }, { "issue_ko": "옥탑방 창문에 방범창이 누락되었습니다.", "fix_en": "Add metal security grilles over the exterior of the glowing rooftop window." }, { "issue_ko": "상층 옥상 가장자리를 둘러싸는 철제 파이프 난간이 없습니다.", "fix_en": "Add the continuous metal pipe railing along the perimeter of the upper green rooftop." }, { "issue_ko": "물탱크 표면의 가로 줄무늬 디테일이 생략되었습니다.", "fix_en": "Add distinct horizontal structural ribs around the cylindrical body of the water tank." }, { "issue_ko": "좌측 철제 계단이 하층이 아닌 상층 옥상 모서리에 잘못 연결되었습니다.", "fix_en": "Relocate the top landing of the metal staircase to connect to a lower roof tier instead of the upper roof deck." } ] }, "fix_skipped": false, "prefix": "bg4" }, "S11sh4": { "totals": { "A": 14, "B": 10, "C": 11 }, "selected": "A", "verdicts": { "gpt": [ { "label": "A", "score": 7, "verdict_ko": "중간참의 난간·벽·야간 심도는 충실하고 물리적으로 자연스럽지만, 단일 직선 계단 위주라 마스터의 지그재그 전체 동선과 건물 배치 확인성이 약하다." }, { "label": "B", "score": 5, "verdict_ko": "근접 난간과 낡은 벽의 분위기는 맞지만 참이 비좁고 계단 연결·도착점이 불명확하며, 마스터에 없는 벽 설비와 구조가 두드러진다." }, { "label": "C", "score": 8, "verdict_ko": "중간참 시점, 파이프 난간, 벽면과 상·하부로 이어지는 다중 계단이 마스터의 지그재그 외부계단을 가장 잘 재현하며 한국 노후 빌라의 질감도 자연스럽다." } ], "gemini-pro": [ { "label": "A", "score": 7, "verdict_ko": "철골 계단과 난간 디테일이 원본과 유사하며, 요구된 피사계 심도와 조명 조건을 가장 잘 충족합니다." }, { "label": "B", "score": 5, "verdict_ko": "피사계 심도는 우수하나, 원본의 개방형 철제 계단과 달리 콘크리트 난간 벽이 등장하여 구조적 일관성이 떨어집니다." }, { "label": "C", "score": 3, "verdict_ko": "요구된 얕은 피사계 심도가 부재하고, 계단이 건물 벽면을 파고드는 물리적 구조 오류가 있어 부자연스럽습니다." } ] }, "critique": { "gpt": [ { "fix_en": "Shorten the visible stair flight to match the master’s roughly ten-step switchback run while changing nothing else.", "issue_ko": "계단 한 런이 마스터보다 지나치게 길다." }, { "fix_en": "Replace the dark masonry and large white-framed window with the master’s pale weathered villa wall and matching façade layout while changing nothing else.", "issue_ko": "인접 벽의 재료와 창 배치가 마스터와 다르다." }, { "fix_en": "Match the handrail to the master’s straight gray metal tubing without dents or heavy surface damage while changing nothing else.", "issue_ko": "난간이 마스터보다 굵고 찌그러져 있다." }, { "fix_en": "Reconstruct the stair and landing junction as the master’s compact switchback connection while changing nothing else.", "issue_ko": "계단과 중간참의 연결 형상이 마스터와 다르다." }, { "fix_en": "Replace the distant illuminated tower skyline with the master’s dense low-rise villa surroundings while changing nothing else.", "issue_ko": "배경 스카이라인이 마스터의 저층 주거지와 맞지 않는다." }, { "fix_en": "Remove the unsupported exposed vertical utility pipes from the near wall while changing nothing else.", "issue_ko": "근경 벽의 노출 배관은 이 위치의 마스터에 없다." } ], "gemini-pro": [ { "issue_ko": "마스터 이미지의 계단은 단과 단 사이가 뚫려 있는 개방형 금속 계단이나, 생성된 이미지는 꽉 막힌 솔리드 형태의 계단으로 묘사되었습니다.", "fix_en": "Change the stair flight in the background to an open-riser metal frame structure to match the master image." }, { "issue_ko": "마스터 이미지의 계단 난간은 가로 방향 파이프 형태이나, 생성된 이미지는 세로 방향의 촘촘한 창살 형태로 변형되었습니다.", "fix_en": "Replace the dense vertical balusters on the handrail with a simple horizontal metal pipe railing." } ] }, "fix_skipped": false, "prefix": "bg4" }, "S13sh4": { "totals": { "A": 14, "B": 14, "C": 8 }, "selected": "B", "verdicts": { "gpt": [ { "label": "A", "score": 9, "verdict_ko": "마스터의 다층 매스와 지그재그 외부계단 전체 동선, 출입문·설비·낡은 중정 배치를 가장 충실하고 물리적으로 자연스럽게 재현했다." }, { "label": "B", "score": 7, "verdict_ko": "계단과 담장·대문은 마스터에 가깝지만 외부 도로 쪽 시점이며 전면 담장이 중정과 인물용 전경을 크게 가려 요구된 근접 배경판 구도에 덜 맞는다." }, { "label": "C", "score": 5, "verdict_ko": "넓은 빈 전경과 한국 주거지 분위기는 좋지만 계단의 연속 지그재그 동선과 건물·출입문·담장 배치가 마스터와 크게 달라 동일 장소성이 약하다." } ], "gemini-pro": [ { "label": "B", "score": 7, "verdict_ko": "원본의 구도, 계단, 마당 배치를 정확히 재현했으며 공간적 형태가 자연스럽습니다." }, { "label": "A", "score": 5, "verdict_ko": "원본의 요소는 일부 반영되었으나, 계단 구조가 비현실적으로 얽혀 있습니다." }, { "label": "C", "score": 3, "verdict_ko": "원본의 마당 배치와 건물 형태를 무시하여 완전히 다른 장소처럼 보입니다." } ] }, "critique": { "gpt": [ { "fix_en": "Replace the narrow single-leaf gate with the master’s broad double metal gate, preserving everything else.", "issue_ko": "전면 대문이 마스터의 넓은 양문형이 아니라 좁은 단문형이다." }, { "fix_en": "Restore the master’s front wall proportions and the original positions of the mailbox and blue plaque without changing anything else.", "issue_ko": "전면 담장의 구획과 우편함·파란 표지 위치가 마스터와 다르다." }, { "fix_en": "Move and reconstruct the exterior stair along the villa’s left side with the master’s exact alternating lower flights and landings, changing nothing else.", "issue_ko": "계단의 위치와 하부 연속 왕복 동선이 마스터와 일치하지 않는다." }, { "fix_en": "Restore the ground-floor facade to the master’s tan tiled finish, barred window, recessed dark entrance, and utility layout while preserving everything else.", "issue_ko": "1층 외벽 마감과 창문·출입문·설비 배치가 마스터에서 크게 바뀌었다." }, { "fix_en": "Restore the courtyard’s irregular concrete paving, stepping stones, and green-painted strip exactly as shown in the master, changing nothing else.", "issue_ko": "마당 바닥의 디딤돌과 녹색 도장 구간이 사라지고 평범한 균열 포장으로 바뀌었다." }, { "fix_en": "Reframe from just inside the ground entrance so the courtyard provides an unobstructed person-sized foreground area while keeping all architecture unchanged.", "issue_ko": "담장과 대문이 화면 하단을 과도하게 막아 사람을 세울 명확한 전경 공간이 부족하다." } ], "gemini-pro": [ { "issue_ko": "대문 디자인이 원본(낮은 양문형)과 다르게 높고 좁은 수직 창살 형태로 바뀌었습니다.", "fix_en": "Replace the tall vertical gate with the low, metallic double gate from the master." }, { "issue_ko": "외부 계단 구조가 원본의 꺾인 형태와 다르며, 프레임이 얽혀 있어 물리적으로 일관성이 없습니다.", "fix_en": "Reconstruct the staircase to match the master's specific switchback design and solid landing." }, { "issue_ko": "원본에 없던 조명이 켜진 출입문이 계단 아래 1층 벽면에 임의로 추가되었습니다.", "fix_en": "Replace the lit door under the stairs with the window, security bars, and open alcove from the master." }, { "issue_ko": "마당 바닥의 불규칙한 돌 포장이 사라지고 단조로운 시멘트 바닥으로 렌더링되었습니다.", "fix_en": "Add the irregular stone stepping paths to the courtyard surface to match the master." } ] }, "fix_skipped": false, "prefix": "bg4" }, "S13sh6": { "totals": { "A": 9, "B": 11, "C": 14 }, "selected": "C", "verdicts": { "gpt": [ { "label": "B", "score": 8, "verdict_ko": "마스터의 좌측 금속계단 전체 흐름, 하부 출입구·창호, 담장·대문·마당 및 노란 가스관 배치가 가장 충실하고 구조도 자연스럽다." }, { "label": "C", "score": 7, "verdict_ko": "측면형 구도와 비어 있는 중경은 우수하지만 대문이 측면 통로처럼 배치되고 출입구 벽면과 계단 연결부가 마스터보다 단순화되었다." }, { "label": "A", "score": 5, "verdict_ko": "야간 질감과 계단 자체는 사실적이나 계단 위치와 주변 건물·청기와 지붕의 비중, 마당과 대문 배치가 마스터의 해당 지점과 크게 다르다." } ], "gemini-pro": [ { "label": "A", "score": 4, "verdict_ko": "건물 구조와 대문 위치가 원본과 크게 다르며, 인물 합성을 위한 중앙 여백이 부족합니다." }, { "label": "B", "score": 3, "verdict_ko": "원본에 없는 발코니가 추가되었고, 계단의 물리적 형태가 심하게 왜곡되어 비현실적입니다." }, { "label": "C", "score": 7, "verdict_ko": "요구된 측면 구도와 야간 조명을 가장 잘 살렸으며, 계단 구조가 자연스럽고 중앙 여백이 충분합니다." } ] }, "critique": { "gpt": [ { "fix_en": "Rotate the shoulder-height camera to look laterally across the approach between the narrow alley and the stair base, while changing nothing else.", "issue_ko": "시점이 접근로를 따라 종축으로 향해 측면 대화 구도가 아니다." }, { "fix_en": "Restore the master villa’s ground-level façade arrangement, including the established dark entrance, window, wall surfaces, and adjoining building mass, while changing nothing else.", "issue_ko": "출입구와 창, 벽면 및 건물 매스가 마스터와 다르다." }, { "fix_en": "Replace the staircase with the master’s exact multi-flight switchback metal stair, preserving its landings, run directions, supports, and railings while changing nothing else.", "issue_ko": "계단의 단수와 꺾임, 참, 지지 구조가 마스터와 불일치한다." }, { "fix_en": "Reposition and resize the courtyard wall and vertical-slat gate to match the master’s front boundary orientation and proportions while changing nothing else.", "issue_ko": "담장과 대문이 긴 측면 통로를 이루어 마스터의 전면 경계 배치와 다르다." }, { "fix_en": "Restore the master’s wider enclosed courtyard footprint and its established relationship to the stair base, entrance, and front gate while changing nothing else.", "issue_ko": "마당이 좁은 복도형 공간으로 바뀌어 원래의 안마당 구조가 사라졌다." }, { "fix_en": "Remove the invented blank wall panel, canopy light, and freestanding table, and restore the corresponding master wall details while changing nothing else.", "issue_ko": "마스터에 없는 대형 벽 패널과 조명, 테이블이 추가됐다." }, { "fix_en": "Restore the master’s visible yellow gas piping, meters, and exterior utility layout in their exact façade positions while changing nothing else.", "issue_ko": "가스 배관과 계량기 등 외부 설비 배치가 마스터와 다르다." } ], "gemini-pro": [ { "issue_ko": "마스터 사진의 담장과 대문은 허리 높이로 낮지만, 생성된 이미지는 사람 키보다 높은 답답한 벽과 대문으로 묘사되었습니다.", "fix_en": "Reduce the height of the right-hand wall and gate to match the low, waist-level perimeter of the master photo." }, { "issue_ko": "마스터 사진의 넓은 마당 공간이 건물과 담장 사이의 좁고 깊은 복도형 공간으로 구조가 왜곡되었습니다.", "fix_en": "Widen the ground space between the staircase and the outer wall to restore the open courtyard layout seen in the master." }, { "issue_ko": "계단 뒤 1층 벽면에 있어야 할 창문 구조가 사라지고, 마스터 사진에 없는 철제 테이블이 임의로 추가되었습니다.", "fix_en": "Remove the table on the ground floor and replace the blank wall behind it with the sliding window layout from the master photo." } ] }, "fix_skipped": false, "prefix": "bg4" } }, "master2": { "prompt": "Create ONE PHOTOREALISTIC aerial location still showing an ordinary lived-in South Korean low-rise multi-family house on a real residential street, contemporary South Korea, 2026. No reference image is attached; construct the scene from this text alone.\n\nCAMERA & COMPOSITION:\nUse a 45-degree high aerial camera looking across the yard toward the building, with the entire property visible in a single frame. The lower edge of the frame begins at the alley approach. The spatial route must read clearly and continuously as alley → frontage gate → yard → exterior stair → rooftop landing → roof path → iron entrance door → rooftop-room unit.\n\nPROPERTY LAYOUT:\nAt the bottom of the frame, show a real narrow residential alley that can accommodate bicycle movement and leads directly to the gate on the property frontage. Opening the gate leads immediately into the yard, which is the first usable space inside the property. A clear primary path continues through the yard to the foot of the exterior stair.\n\nPlace a secluded bicycle corner off this primary gate-to-stair route. It must read as a tucked-away part of the yard rather than its open center, suitable for an ordinary bicycle to be left casually without obstructing circulation.\n\nSet the main building footprint along the edge of the yard. Attach a later-added exterior steel stair directly to an outside wall, with its lowest flight accessible from the yard. The stair climbs the full height of the three-storey building as a multi-flight zig-zag run with intermediate landings. It has open treads, thin steel-plate stringers, support posts, and pipe railings; it is unmistakably a retrofit steel stair, never a concrete stair.\n\nAt the top, the exterior stair reaches an upper rooftop landing. From this landing, the iron entrance door of the rooftop-room unit is immediately visible and unobstructed. A walkable path continues across the same roof surface from the landing to the door, passing beside both the clothesline area and the wooden drying bench.\n\nROOFTOP ARRANGEMENT:\nThe main roof deck is approximately 8–10 metres above the yard. On this roof surface, place the small rooftop-room unit as a fourth-level volume above the three full storeys of the main building. Its iron entrance door faces the landing approach. Include the door’s narrow mail-or-flyer gap detail, without readable printing or a staged delivery moment; the door should rest in an ordinary stable position rather than suggesting a specific unfolding event.\n\nThe rooftop-room unit contains a small living-room window and a separate curtained room window. Orient at least one of these windows so that its sightline toward a low rooftop wall or parapet is spatially understandable from the camera view.\n\nRun a clothesline across the roof close enough to the landing-to-door route that hanging items or dried leaves could brush a passerby, while keeping the route physically usable. Beside this area and along the approach to the iron door, place a wooden drying bench carrying dried leaves. Include a rooftop water tank on the same roof surface near the other rooftop contents, positioned so that it does not block the landing-to-door path.\n\nInclude a low-mounted practical light fixture or clearly visible low-angle light-source position associated with the rooftop path. Its placement should communicate only its functional ability to create long low-angle shadows; it must not establish a night scene, theatrical mood, colour treatment, or material cue. Under the required neutral daytime conditions, it is not visibly illuminated.\n\nSCALE & MASSING:\nThe main building is an aged three-storey low-rise multi-family house with the roof deck roughly 8–10 metres above the yard. The small rooftop-room unit forms a compact fourth-level rooftop volume. Each facade storey has a few modest windows typical of regional South Korean multi-family housing. Preserve the full vertical relationship between the yard, the three-storey retrofit stair, the rooftop landing, the roof deck, and the rooftop-room unit.\n\nFACADE & LIVED-IN:\nMake this visibly inhabited and consistent with real low-rise multi-family houses found in this locality and period. Delegate the precise exterior finishes, window frames, and construction details to the authentic built conventions of an ordinary South Korean residential street in 2026 rather than prescribing a specific colour or facade material. Across the storeys, include the layered practical features commonly found on actual Korean multi-family houses: regionally typical exterior finishes and windows, security grilles where plausible, air-conditioner outdoor units, exposed gas piping, an ordinary waterproofed rooftop surface, practical roof and stair railings, mailboxes, utility meters, and modest potted plants. Show varied natural aging, maintenance, retrofits, and everyday residential traces so the property feels genuinely lived in, while avoiding clutter arranged to imply any particular incident or moment.\n\nSURROUNDINGS:\nSurround the property with a fully real, dense South Korean low-rise residential neighborhood. Include neighboring low-rise buildings, authentic windows and roofs, utility wires, walls, gates, pavement, alley surfaces, drainage, and other ordinary street infrastructure appropriate to contemporary South Korea. The surroundings must remain physically credible and visually continuous with the subject property.\n\nLIGHTING & EXCLUSIONS:\nUse plain, neutral daytime light. No fog, rain, dramatic weather, cinematic colour grading, stylized mood, or people. Do not show any specific incident, active event, or transient staged moment. No readable text, signage, lettering, addresses, labels, logos, numbers, or alphanumeric markings anywhere in the image.\n\nThe final image must contain ZERO annotations or graphic aids: no captions, circles, arrows, dashed lines, outlines, callouts, codes, letters, numbers, labels, markers, diagrams, overlays, or interface elements.", "totals": { "A": 14, "B": 13, "C": 12 }, "selected": "A", "critique": { "gpt": [ { "fix_en": "Add a second, separate living-room window to the rooftop-room unit while retaining the existing curtained window and changing nothing else.", "issue_ko": "옥탑방에는 커튼 친 창 하나만 보여 별도의 거실 창과 방 창 구성이 충족되지 않는다." }, { "fix_en": "Move the rooftop water tank onto the subject building’s main roof deck near the rooftop contents without blocking the landing-to-door path.", "issue_ko": "물탱크가 옥탑방 접근 동선과 같은 주 건물 옥상 바닥이 아니라 뒤쪽의 분리된 높은 지붕에 놓여 있다." }, { "fix_en": "Add one clearly recognizable, unlit, low-mounted practical light fixture beside the rooftop landing-to-door path.", "issue_ko": "옥상 통로에 연결된 낮은 위치의 실용 조명기구가 명확히 보이지 않는다." }, { "fix_en": "Remove all visible letters, numbers, labels, and plaques from the rooftop door, meters, walls, gates, and neighboring frontage while preserving the objects themselves.", "issue_ko": "옥탑문 표찰, 계량기, 벽과 주변 출입구에 문자·숫자 표식이 보인다." } ], "gemini-pro": [ { "issue_ko": "메인 건물이 요청된 3개 층이 아닌 2개 층으로만 구성되어 있습니다.", "fix_en": "Add one more full storey to the main building so it has three storeys below the roof deck." }, { "issue_ko": "외부 철제 계단의 최상단이 메인 옥상 바닥과 물리적으로 끊어져 있어 지붕으로 진입할 수 없는 구조입니다.", "fix_en": "Connect the top landing of the exterior stair directly to the edge of the main green roof surface." }, { "issue_ko": "물탱크가 다른 옥상 물품들이 있는 바닥면이 아닌 옥탑방 지붕 위에 배치되어 있습니다.", "fix_en": "Move the water tank from the top of the rooftop unit down to the main green roof surface." }, { "issue_ko": "우측 담장의 파란색 도로명 주소판과 옥탑방 출입문 유리에 읽을 수 있는 문자와 숫자가 포함되어 있습니다.", "fix_en": "Remove all text and numbers from the blue wall plaques and the window on the rooftop door." } ] } }, "prev2_v2_bak": { "S4sh1": { "prev": null, "reason_ko": "목록의 첫 샷", "shot": "S4sh1", "usage_en": "" }, "S5sh5": { "prev": null, "reason_ko": "낮 외부 전경에서 실내로 바뀌며 직접적인 시각 연결 단서가 없음", "shot": "S5sh5", "usage_en": "" }, "S5sh9": { "prev": "S5sh5", "reason_ko": "같은 낮 실내에서 앞치마를 입은 인물의 연속 행동", "shot": "S5sh9", "usage_en": "TAKE the same daylight, skin tone, apron, and wardrobe continuity from the middle-aged woman. EXCLUDE the television, the button-pressing gesture, and most of her face and body from this tight wrist framing." }, "S10sh6": { "prev": null, "reason_ko": "낮 장면에서 밤 침입 장면으로 시간대가 바뀜", "shot": "S10sh6", "usage_en": "" }, "S10sh7": { "prev": "S10sh6", "reason_ko": "같은 밤 현관 침입 직후 창문에 이어지는 연속 행동", "shot": "S10sh7", "usage_en": "TAKE the same nighttime rooftop-room lighting, dark interior tone, and ominous intruder presence. EXCLUDE the iron-door gap, the visible shoe tip, and any flyer or lock-manipulation details; render the figures only as window shadows." }, "S11sh4": { "prev": null, "reason_ko": "앞 샷과 계단 구도나 인물 연결이 직접 보이지 않음", "shot": "S11sh4", "usage_en": "" }, "S11sh5": { "prev": "S11sh4", "reason_ko": "같은 인물이 계단을 올라 옥상 현관을 발견하는 연속 동선", "shot": "S11sh5", "usage_en": "TAKE the young woman's clothing, nighttime exterior lighting, and the metal stair-and-railing materials as she reaches the rooftop. EXCLUDE the earlier facial close-up, nose-wrinkling expression, and hand gripping the railing; frame her sightline toward the half-open iron door." }, "S12sh11": { "prev": "S10sh7", "reason_ko": "같은 밤 공격 장면에서 피투성이 시신으로 이어지는 사건 연속성", "shot": "S12sh11", "usage_en": "TAKE the same nighttime room illumination and the attacked middle-aged woman's clothing, body proportions, and injured-shoulder continuity. EXCLUDE the attacker, the exterior window-reflection composition, and the oversized shadow treatment; show only the bloodied victim slumped inside the room." }, "S12sh18": { "prev": "S12sh11", "reason_ko": "같은 시신의 손에 쥐어진 사진으로 좁혀지는 연속 디테일", "shot": "S12sh18", "usage_en": "TAKE the victim's bloodstained skin and clothing, her unmoving seated state, and the same dim nighttime room light. EXCLUDE her face, full body, exposed shoulder wound, and the approaching young woman from this tight hand-and-photograph shot." }, "S12sh21": { "prev": "S12sh11", "reason_ko": "같은 방의 시신 발견 직후 침대 위 벽에 표식이 생김", "shot": "S12sh21", "usage_en": "TAKE the same bedroom wall and bed materials, dim nighttime lighting, and blood-tinged atmosphere established in the room. EXCLUDE the victim's body, her wounds, the young woman, and the crumpled photograph from the wall-focused frame; the half-formed red circle is the new focal element." }, "S13sh4": { "prev": "S11sh4", "reason_ko": "같은 밤 건물 외부에서 같은 인물의 의상과 외형이 이어짐", "shot": "S13sh4", "usage_en": "TAKE the young woman's same clothing and appearance, along with the building's nighttime exterior lighting and metal stair materials. EXCLUDE the earlier hand-on-railing pose and disgusted expression; she should now stand motionless with a vacant, shocked gaze." }, "S13sh6": { "prev": "S13sh4", "reason_ko": "같은 장소에서 구조자를 마주보는 즉각적인 연속 동작", "shot": "S13sh6", "usage_en": "TAKE the young woman's clothing, pale shocked appearance, standing position, and the same nighttime courtyard lighting. EXCLUDE her previous empty-space gaze and solitary composition; turn her face upward toward the approaching middle-aged woman." }, "S14sh5": { "prev": "S12sh11", "reason_ko": "동일한 방이 피와 시신 없이 변한 상태를 대비해 보여줌", "shot": "S14sh5", "usage_en": "TAKE the same bedroom architecture, curtain and bed placement, surface materials, and nighttime lighting. EXCLUDE the victim, every bloodstain and footprint, exposed wounds, and all signs of violence; the room must appear excessively clean and orderly." }, "S14sh7": { "prev": "S14sh5", "reason_ko": "깨끗해진 동일한 방을 바라보는 인물 반응으로 이어짐", "shot": "S14sh7", "usage_en": "TAKE the exact clean bedroom look, orderly arrangement, and nighttime interior lighting. EXCLUDE the previous wide empty-room framing and do not restore any corpse, blood, wound, or red wall mark; use the room only as the setting behind the young woman's stunned close-up." }, "S14sh11": { "prev": "S13sh6", "reason_ko": "같은 밤 도착한 중년 여성의 외형과 의상이 실내 조사까지 이어짐", "shot": "S14sh11", "usage_en": "TAKE the middle-aged woman's same face, hair, clothing, and nighttime continuity from her arrival. EXCLUDE the outdoor courtyard, vehicle, siren context, and the distressed young woman from this framing; direct her gaze sharply toward the male detective indoors." }, "S17sh2": { "prev": null, "reason_ko": "밤 장면에서 동틀 무렵 외부로 시간대가 바뀜", "shot": "S17sh2", "usage_en": "" }, "S18sh11": { "prev": null, "reason_ko": "이전 샷과 시간대와 실내 공간이 모두 달라짐", "shot": "S18sh11", "usage_en": "" }, "S18sh15": { "prev": null, "reason_ko": "욕실 벽에서 거실 사진으로 바뀌어 참조할 공통 프레임 요소가 부족함", "shot": "S18sh15", "usage_en": "" }, "S18sh16": { "prev": "S18sh15", "reason_ko": "사진 이상 현상을 본 직후 같은 거실에서 이어지는 반응", "shot": "S18sh16", "usage_en": "TAKE the same daytime living-room light, color balance, and immediate supernatural tension. EXCLUDE the framed portrait, the melting facial image, and any wall-bound distortion from this close-up; show only the young woman's terrified reaction." }, "S25sh1": { "prev": null, "reason_ko": "낮 장면에서 해질 무렵으로 시간대가 바뀌고 집 상태도 달라짐", "shot": "S25sh1", "usage_en": "" }, "S25sh5": { "prev": "S25sh1", "reason_ko": "같은 해질 무렵 난장판이 된 집에서 방의 붉은 표식으로 이어짐", "shot": "S25sh5", "usage_en": "TAKE the same sunset interior light, aged wall materials, and persistent sense of the ransacked home. EXCLUDE the living-room floor, muddy footprints, fallen dining chairs, and wide furniture layout from this tight bedroom-wall shot; center the bloodied photograph within the red circle." }, "S25sh9": { "prev": "S25sh5", "reason_ko": "벽에 꽂힌 사진을 떼어 손에 움켜쥐는 직접적인 연속 행동", "shot": "S25sh9", "usage_en": "TAKE the exact old photograph, including its blood marks, creases, worn texture, and the same sunset illumination. EXCLUDE the red wall circle, the mounting point, and the surrounding wall; show the photograph only in the young woman's tightly clenched hand." }, "S27sh3": { "prev": "S25sh1", "reason_ko": "같은 해질 무렵 옥탑방 거실의 어질러진 상태가 지속됨", "shot": "S27sh3", "usage_en": "TAKE the same sunset room lighting, aged interior materials, and persistent ransacked condition for any visible background. EXCLUDE the young woman, the bloodied old photograph, and the red wall circle; do not force the fallen chairs or muddy floor into the tight facial framing." } } }