{
 "conti": {
  "S5sh5": {
   "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: 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\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\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 — 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\nCARRIED STATE (persist exactly): 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\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.",
   "plate": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png",
   "gkey": "rooftop_room_interior"
  },
  "S5sh9": {
   "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: 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\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\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 — 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\nCARRIED STATE (persist exactly): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.",
   "plate": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png",
   "gkey": "rooftop_room_interior"
  },
  "S11sh4": {
   "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: 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\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\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 — 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\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.",
   "plate": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh4_sel.png",
   "gkey": "exterior_metal_staircase"
  },
  "S11sh5": {
   "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: 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\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\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 — 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.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.",
   "plate": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh5_sel.png",
   "gkey": "rooftop_room_exterior"
  },
  "S12sh11": {
   "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: 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\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\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 — 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\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\nCARRIED STATE (persist exactly): 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\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.",
   "plate": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png",
   "gkey": "rooftop_room_interior"
  },
  "S12sh18": {
   "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: 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\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\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 — 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\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\nCARRIED STATE (persist exactly): 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\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.",
   "plate": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png",
   "gkey": "rooftop_room_interior"
  },
  "S13sh4": {
   "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: 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\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\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 — 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.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.",
   "plate": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh4_sel.png",
   "gkey": "residential_alley_courtyard"
  },
  "S13sh6": {
   "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: 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\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\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 — 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: no captions, no numbers, no labels of any kind.",
   "plate": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh6_sel.png",
   "gkey": "residential_alley_courtyard"
  },
  "S14sh7": {
   "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: 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\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\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 — 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\nCARRIED STATE (persist exactly): 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\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.",
   "plate": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png",
   "gkey": "rooftop_room_interior"
  },
  "S14sh11": {
   "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: 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\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\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 — 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\nCARRIED STATE (persist exactly): 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: no captions, no numbers, no labels of any kind.",
   "plate": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_entry_night_inward_view_sel.png",
   "gkey": "rooftop_room_interior"
  },
  "S18sh16": {
   "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: 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\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\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 — 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\nCARRIED STATE (persist exactly): 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\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.",
   "plate": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png",
   "gkey": "rooftop_room_interior"
  },
  "S25sh9": {
   "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: 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\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\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 — 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\nCARRIED STATE (persist exactly): 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\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.",
   "plate": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_sunset_bed_wall_sel.png",
   "gkey": "rooftop_room_interior"
  },
  "S27sh3": {
   "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: 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\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\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 — 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\nCARRIED STATE (persist exactly): 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\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.",
   "plate": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_sunset_floor_view_sel.png",
   "gkey": "rooftop_room_interior"
  }
 },
 "skipped_bgonly": [
  "S4sh1",
  "S10sh6",
  "S10sh7",
  "S12sh21",
  "S14sh5",
  "S17sh2",
  "S18sh11",
  "S18sh15",
  "S25sh1",
  "S25sh5"
 ],
 "stills": {
  "S5sh5": {
   "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 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\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\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 (Korean middle-aged woman, early-40s face, soft mature features, natural dark hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere.",
   "totals": {
    "A": 7,
    "B": 4,
    "C": 6
   },
   "selected": "A",
   "verdicts": [
    {
     "label": "A",
     "score": 7,
     "verdict_ko": "지정된 위치, 인물의 의상 및 손목 자국, 요구된 동작을 가장 정확하게 재현했습니다."
    },
    {
     "label": "B",
     "score": 4,
     "verdict_ko": "주방 구조와 가구 재질이 배경 레퍼런스와 크게 다르며 손목 자국 형태도 어긋납니다."
    },
    {
     "label": "C",
     "score": 6,
     "verdict_ko": "전반적인 구도와 행동은 좋으나 인물의 상의 색상이 캐릭터 레퍼런스와 일치하지 않습니다."
    }
   ],
   "ranking": [
    "A",
    "C",
    "B"
   ],
   "refs": [
    {
     "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.",
     "path": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png"
    },
    {
     "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": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S5sh5.png"
    },
    {
     "label": "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly.",
     "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png"
    }
   ],
   "critique": [
    {
     "issue_ko": "한국어 샷 텍스트에는 민숙만 명시되어 있으나 배경의 방문 쪽에 다른 인물이 임의로 추가됨.",
     "fix_en": "Remove the second person standing in the background doorway."
    },
    {
     "issue_ko": "TV를 향해 뻗은 오른팔이 비정상적으로 길고 두껍게 왜곡되어 해부학적 비례에 어긋남.",
     "fix_en": "Restore the extended right arm to normal human proportions and natural length."
    }
   ],
   "fix_skipped": false,
   "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Remove the second person standing in the background doorway.\n- Restore the extended right arm to normal human proportions and natural length.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere.",
   "gkey": "rooftop_room_interior",
   "ref_mode": "플레이트+콘티+엔티티"
  },
  "S11sh4": {
   "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\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\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 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere.",
   "totals": {
    "A": 7,
    "B": 3,
    "C": 5
   },
   "selected": "A",
   "verdicts": [
    {
     "label": "A",
     "score": 7,
     "verdict_ko": "코를 찡그린 표정과 계단의 기하학적 구조(오른쪽 벽, 왼쪽 난간)를 잘 유지했으며, 지시된 클로즈업 구도에 가장 근접합니다."
    },
    {
     "label": "B",
     "score": 3,
     "verdict_ko": "벽과 조명의 위치가 좌우 반전되었고, 뒤로 이어지는 계단의 형태가 지정된 장소의 구조와 완전히 어긋납니다."
    },
    {
     "label": "C",
     "score": 5,
     "verdict_ko": "표정과 배경 구현은 우수하나, 얼굴이 화면의 2/3를 차지해야 하는 클로즈업 지시를 무시하고 너무 멀리서 촬영되었습니다."
    }
   ],
   "ranking": [
    "A",
    "C",
    "B"
   ],
   "refs": [
    {
     "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.",
     "path": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh4_sel.png"
    },
    {
     "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": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_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"
    }
   ],
   "critique": [
    {
     "issue_ko": "얼굴이 카메라에 가장 가까워야 한다는 지시와 달리, 손과 금속 난간이 얼굴보다 카메라에 더 가까운 앞쪽 전경에 배치되었습니다.",
     "fix_en": "Push the hand and the metal-pipe railing slightly farther back in depth so that Suri-young's face is unmistakably the nearest figure to the camera."
    },
    {
     "issue_ko": "난간을 잡고 있는 손의 해부학적 구조가 왜곡되었습니다(손등 방향과 손가락의 굽힘이 맞지 않으며 엄지의 위치가 비정상적임).",
     "fix_en": "Correct the anatomy of the hand gripping the railing to have proper finger and thumb orientation for a natural grip."
    }
   ],
   "fix_skipped": false,
   "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Push the hand and the metal-pipe railing slightly farther back in depth so that Suri-young's face is unmistakably the nearest figure to the camera.\n- Correct the anatomy of the hand gripping the railing to have proper finger and thumb orientation for a natural grip.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere.",
   "gkey": "exterior_metal_staircase",
   "ref_mode": "플레이트+콘티+엔티티"
  },
  "S12sh11": {
   "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 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\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\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. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere.",
   "totals": {
    "C": 7,
    "B": 5,
    "A": 4
   },
   "selected": "C",
   "verdicts": [
    {
     "label": "C",
     "score": 7,
     "verdict_ko": "레이아웃 스케치의 프레이밍과 캐릭터의 지정된 복장(긴 바지), 소품 및 자세를 가장 정확하게 재현했습니다."
    },
    {
     "label": "B",
     "score": 5,
     "verdict_ko": "캐릭터의 복장은 일치하나 지정된 카메라 프레이밍을 무시하고 방의 왼쪽 부분을 완전히 누락했습니다."
    },
    {
     "label": "A",
     "score": 4,
     "verdict_ko": "공간 프레이밍은 유사하나 캐릭터가 참조 이미지와 달리 긴 바지를 입지 않은 치명적인 묘사 오류가 있습니다."
    }
   ],
   "ranking": [
    "C",
    "B",
    "A"
   ],
   "refs": [
    {
     "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.",
     "path": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png"
    },
    {
     "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": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S12sh11.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"
    }
   ],
   "critique": [
    {
     "issue_ko": "카메라와 가장 가까운 오른쪽 발에 발가락이 6개 그려져 있습니다.",
     "fix_en": "Render exactly five toes on the right foot, fixing the anatomical error."
    },
    {
     "issue_ko": "한 손이 구겨진 사진을 꽉 쥐고(clenched) 있어야 하나, 손가락이 느슨하게 풀린 채 사진을 누르고만 있습니다.",
     "fix_en": "Close the fingers into a tight fist clenching the crumpled photograph."
    },
    {
     "issue_ko": "인물이 커튼에 기대어 있어, 커튼 영역이 인물 뒤로 멀어져야(recede FARTHER behind her) 한다는 심도 및 배치 지침을 위반했습니다.",
     "fix_en": "Position the character so she is unsupported and not leaning against the curtain, ensuring the curtain recedes entirely behind her."
    }
   ],
   "fix_skipped": false,
   "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Render exactly five toes on the right foot, fixing the anatomical error.\n- Close the fingers into a tight fist clenching the crumpled photograph.\n- Position the character so she is unsupported and not leaning against the curtain, ensuring the curtain recedes entirely behind her.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere.",
   "gkey": "rooftop_room_interior",
   "ref_mode": "플레이트+콘티+엔티티"
  },
  "S13sh4": {
   "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 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\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\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 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere.",
   "totals": {
    "C": 7,
    "A": 5,
    "B": 4
   },
   "selected": "C",
   "verdicts": [
    {
     "label": "C",
     "score": 7,
     "verdict_ko": "레이아웃 스케치의 인물 위치와 포즈(왼쪽을 향함)를 정확히 구현했으며, 공허한 시선과 캐릭터 디자인(모자 포함)도 충실히 반영했습니다."
    },
    {
     "label": "A",
     "score": 5,
     "verdict_ko": "캐릭터 디자인은 일치하나, 인물이 중앙 우측에 위치하고 정면을 향해 있어 레이아웃 스케치의 지시와 어긋납니다."
    },
    {
     "label": "B",
     "score": 4,
     "verdict_ko": "레이아웃의 위치와 포즈 가이드를 따르지 않았으며, 캐릭터 레퍼런스의 핵심인 모자도 누락되었습니다."
    }
   ],
   "ranking": [
    "C",
    "A",
    "B"
   ],
   "refs": [
    {
     "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.",
     "path": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh4_sel.png"
    },
    {
     "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": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_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"
    }
   ],
   "critique": [
    {
     "issue_ko": "인물의 크기가 배경(문, 계단 등) 및 레이아웃 스케치의 비율에 비해 비현실적으로 너무 작게 렌더링되었습니다.",
     "fix_en": "Scale the character up significantly so her height is realistic relative to the environment and her head reaches the top edge of the left wall, matching the layout sketch."
    }
   ],
   "fix_skipped": false,
   "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Scale the character up significantly so her height is realistic relative to the environment and her head reaches the top edge of the left wall, matching the layout sketch.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere.",
   "gkey": "residential_alley_courtyard",
   "ref_mode": "플레이트+콘티+엔티티"
  },
  "S14sh11": {
   "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\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\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 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere.",
   "totals": {
    "C": 6,
    "A": 5,
    "B": 4
   },
   "selected": "C",
   "verdicts": [
    {
     "label": "C",
     "score": 6,
     "verdict_ko": "인물 레퍼런스의 복장(가죽 재킷, 터틀넥)을 가장 정확히 재현하고 소품과 배경도 일치하나, 혜수가 가장 가까운 인물이어야 한다는 심도 조건은 지키지 못했습니다."
    },
    {
     "label": "A",
     "score": 5,
     "verdict_ko": "배경과 소품 묘사는 무난하지만 혜수의 헤어스타일과 의상 디테일이 레퍼런스와 다르고, 김형사가 시각적으로 너무 가깝게 배치되었습니다."
    },
    {
     "label": "B",
     "score": 4,
     "verdict_ko": "인물 레퍼런스가 아닌 레이아웃 스케치의 의상(스웨터)을 잘못 차용했으며, 가방이 중복으로 생성되었고 심도 조건 역시 실패했습니다."
    }
   ],
   "ranking": [
    "C",
    "A",
    "B"
   ],
   "refs": [
    {
     "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.",
     "path": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_entry_night_inward_view_sel.png"
    },
    {
     "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": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S14sh11.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"
    }
   ],
   "critique": [
    {
     "issue_ko": "캐릭터 레퍼런스 이미지에 있는 혜수의 회색 비니가 누락되었습니다.",
     "fix_en": "Add the grey beanie to Hye-su's head to exactly match the character reference."
    },
    {
     "issue_ko": "프롬프트의 크기 및 심도 지침과 달리, 김형사(오른쪽)가 혜수보다 더 가까이 배치되어 있습니다.",
     "fix_en": "Swap the depth order of the characters so that Hye-su is the nearest visible figure in the foreground and Detective Kim is further away."
    }
   ],
   "fix_skipped": false,
   "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Add the grey beanie to Hye-su's head to exactly match the character reference.\n- Swap the depth order of the characters so that Hye-su is the nearest visible figure in the foreground and Detective Kim is further away.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere.",
   "gkey": "rooftop_room_interior",
   "ref_mode": "플레이트+콘티+엔티티"
  }
 }
}